EXCHANGE 


MAR  ^  -^^^ 


THE  HOUSE-DOOR 

ON  THE 

ANCIENT  STAGE 

A  DISSERTATION 

Presented  to  the 

Faculty  of  Princeton  University 

In  Candidacy  for  the  Degree 

OF  Doctor  of  Philosophy 

BY 

W.  W.   MOONEY 


/^' 


BALTIMORE 

WILLIAMS  &  WILKINS  COMPANY 

1914 


THE  HOUSE-DOOR 

ON  THE 

ANCIENT  STAGE 

A  DISSERTATION 

Presented  to  the 

Faculty  of  Princeton  University 

In  Candidacy  for  the  Degree 

OF  Doctor  of  Philosophy 

BY 

W.  W.  MOONEY 


BALTIMORE 

WILLIAMS  &  WILKINS  COMPANY 

1914 


Accepted  by  the  Department  of  Classics 
June  1913 


PREFACE 

I  gladly  take  this  occasion  to  express  my  great  obligations  to  Professor  A. 
M.  Harmon,  who  suggested  to  me  this  subject  of  inquiry  and  has  given  me 
the  benefit  of  his  constant  criticism  during  the  prosecution  of  this  study.  I 
also  take  genuine  pleasure  in  thanking  Professor  Edward  Capps  for  many 
valuable  suggestions.  Professor  G.  W.  Elderkin  has  very  kindly  assisted 
me  in  collecting  such  archaeological  material  as  is  found  in  this  dissertation. 

W.   W.   MOONEY. 

Adelphi  College,  Brooklyn. 


284663 


Matri  Meae 
Pietatis  Causa 


CONTENTS 

Introduction 9 

Chapter  I. — Fores,  Ianua,  Ostium 11 

The  theory  of  an  inner  and  outer  door. — Was  the  street-door  (outer)  kept 
open  by  day? — Occlusa  means  locked. — The  open  door  was  exceptional. — 
The  terms  fores,  ianua,  and  ostium  used  for  the  same  door. — So  fores 
and  ianua. — So /ores  and  ostium. — The  assumption  of  an  open  hallway  un- 
necessary .^-Only  one  door  at  entrance,  usually  kept  closed. — Archaeological 
evidence. — Fores  a  single  or  double  door? 

Chapter  II. — Knocking  at  the  Door  in  the  Drama 19 

Knocking  customary  in  private  life. — Rare  in  tragedy. — Calling. — The 
dramatic  purpose  of  knocking. — The  vocabulary  of  knocking. — KowTetv. 
— Kpoveiv. — Ways  of  knocking. — Greek  words  that  express  violent  knock- 
ing.— Tevetv  and  dpvyopav  comic. — Pultare  and  pulsare. — Latin  words  that 
express  violent  knocking. — Other  words. — Knockers  and  bells. 

Chapter  III. — Knocking  at  the  Door  Before  Coming  out  of  the  House 25 

When  doors  of  private  houses  opened  outwards,  knocking  may  have  been 
necessary  as  a  warning  to  those  outside. — Customary  on  the  stage  accord- 
ing to  Plutarch  and  Helladius. — Origin  of  this  view. — The  Scholiasts'  inter- 
pretation of  \f/o(f>€lv  transitive  as  intentional  knocking. — As  a  noise  incidental 
to  opening  of  the  door. — Indications  of  a  current  misuse  of  \po<f)€lv,  a  sole- 
cism.— General  meaning  of  intransitive  use  of  \po(f>a,v,  crepare-concrepare. — 
Transitive  use. — When  used  in  connection  with  the  door.  How  the 
\l/64)os  (crepitus)  of  the  door  could  be  prevented. — The  use  of  ipo(l>6iv 
and  crepare-concrepare  in  connection  with  the  opening  of  the  door  by  a 
person  about  to  enter. — ^o(f>€lv  used  when  a  person  is  about  to  come  out. — 
Other  expressions  with  the  same  connotation. — Crepare-concrepare  when 
a  person  is  about  to  come  out. — Sonitus  of  the  noise  made  by  the  door. — 
Aperire  for  crepare. — The  noise  of  the  door  used  for  special  effect  as  a  dra- 
matic device. — Conclusions  as  to  rpotpelv  and  crepare. — UexXrfxe  rijv  dvpav  in 
Menander. — Pepulit  fores  in  Terence  explained  by  Tacitus. — Percussitin 
Plautus. — General  conclusion. 

Chapter  IV. — Did  the  Stage  Door  Open  Outwards  or  Inwards? 42 

That  it  opened  outwards  the  result  of  our  interpretation  of  ireirXrixi, 
pepulit,  percussit. — Testimony  of  Plutarch  and  Helladius. — In  the  early 
Greek  private  house. — In  the  fourth  century. — At  Priene. — In  the  Roman 
private  house. — At  Pompeii. — The  stage-door  in  Greek  tragedy. — In  Greek 
and  Roman  comedy. — Conclusions  for  the  theater. — No  evidence  from 
ruins  of  theaters. — Evidence  from  vases,  wall-paintings,  and  reliefs. 


>\  ^. 


8  CONTENTS 

Chapter  V. — ^The  Use  of  the  Stage-door  and  the  Parodoi  in  the  Plays 49 

Amount  of  action  in  a  play  may  be  measured  roughly  by  the  number  of 
entrances  and  exits. — Tables  showing  the  number  of  exits  and  entrances 
by  the  door  and  by  the  parodoi  in  each  play. — Comments. — The  words 
and  expressions  used  in  connection  with  entrances  and  exits  in  the  Greek 
drama. — 'Ek  regularly  used  for  entrances  from  the  house. — Eis  for  exits  into 
the  house. — np6s  regularly  used  for  entrances  by  the  parodoi. — 'AirS  for 
exits  by  them. — Exceptions. — The  words  and  expressions  used  in  connec- 
tion with  entrances  and  exits  in  the  Roman  drama. — Ex  usually  used  for 
entrances  from  the  house. — In  for  exits  into  the  house. — Ad  commonly  used 
for  entrances  by  the  side-entrances. — Ab  for  exits  by  them. — Tabulation  of 
words  and  expressions  used,  I :  Entrances  by  the  scene-door,  Greek ;  II : 
Exits  by  the  scene-door,  Greek;  III:  Entrances  by  the  parodoi,  Greek;  IV: 
Exits  by  the  parodoi,  Greek;  V:  Entrances  by  the  scene-door,  Latin;  VI; 
Exits  by  the  scene-door,  Latin;  VII:  Entrances  by  the  side-entrances, 
Latin;  VIII:  Exits  by  the  side-entrances,  Latin. 


INTRODUCTION 

It  is  my  purpose  in  this  dissertation  to  investigate  the  subject  of  the 
door  in  the  back-scene  of  the  Greek  and  Roman  theater  and  its  use  during 
dramatic  performances.  A  number  of  questions  connected  with  the  stage- 
door,  with  regard  both  to  its  physical  characteristics  and  to  the  use  which 
the  poets  made  of  it,  have  hitherto  been  more  or  less  obscure.'  A  reexamina- 
tion of  the  evidence  has  therefore  seemed  desirable  and  opportune,  especially 
since,  with  the  discovery  in  recent  years  of  considerable  portions  of  new 
text  of  Menander,  some  fresh  material  has  come  to  light  and  the  interest  of 
classical  scholars  in  the  general  topic  has  been  newly  aroused.  In  dealing 
with  the  problem,  I  have  taken  into  consideration  not  only  the  texts  of  the 
tragic  and  comic  poets,  Greek  and  Latin,  but  also  whatever  pertinent  mate- 
rial I  have  been  able  to  find  in  the  classical  literature  and  in  the  archaeological 
remains. 

The  dissertation  is  divided  into  five  chapters :  In  the  first  chapter  is  dis- 
cussed the  theory,  which  I  consider  erroneous,  that  each  house  represented 
in  the  back-scene  in  the  dramas  of  Plautus  and  Terence  had  a  doorway  with 
two  doors,  an  inner  and  an  outer,  the  latter  generally  open  by  day.  My  refu- 
tation of  this  theory  consists  in  shomng  (1)  that  it  was  not  usual  for  the 
front  door  to  be  kept  open  during  the  day,  (2)  that  ianua,  fores,  and  ostium 
are  applied  to  this  door  without  any  distinction,  and  (3)  that  certain  pas- 
sages in  Plautus,  which  might  seem  to  imply  an  open  hallway,  may  readily  be 
explained  by  assuming  a  doorway  or  shallow  recess  in  front  of  the  door. 

In  the  second  chapter  I  discuss  (1)  knocking  at  the  door  from  the  play- 
wright's point  of  view  and  (2)  the  vocabulary  {kottt^iv,  etc.  .  .  .  pultare,  etc.) 
employed  in  describing  knocking. 

Knocking  at  the  door  before  coming  out  of  the  house  is  discussed  in  the 
third  chapter.  The  purpose  of  the  discussion  is  to  show  that  Plutarch  (Poh- 
lic.  20)  and  Helladius  (apud  Phot.  Bihl.  Cod.  279)  are  mistaken  in  saying 
that  it  was  customary  for  an  actor  to  give  an  intentional  knock  before  passing 
out  of  the  house  to  the  acting  space  in  front  of  it. 

The  object  of  the  fourth  chapter  is  to  determine  which  way  the  stage- 
door  was  made  to  open,  outwards  or  inwards.  The  evidence  from  the  plays 
and  from  the  vases,  wall-paintings,  and  reliefs   show  that  Plutarch   (op. 

9 


10  INTRODUCTION 

cit.)  and  Helladius  (op.  cit.)  are  right  in  stating  that  the  stage-door  swung 
outwards. 

The  fifth  chapter  is  devoted  to  the  use  of  the  stage-door  and  the 
parodoi  in  the  plays.  Questions  connected  with  entering  and  leaving  the 
scene  of  action  through  them  are  discussed,  and  the  vocabulary  used  in  con- 
nection with  entrances  and  exits,  both  through  the  door  and  by  the  side- 
entrances,  is  given  and  summarized. 


CHAPTER  I 

Fores,  Ianua,  Ostium 

There  has  been  a  persistent  tradition  among  modern  interpreters  of 
Plautus  and  Terence  that  the  house  represented  in  the  back-scene  of  their 
dramas  had  a  doorway  with  two  doors,  an  inner  and  an  outer,  and  that  the 
latter  was  regularly  kept  open  by  day.  The  earliest  expression  of  this  view 
which  we  have  been  able  to  discover  is  in  Lambinus'  (1520-1572)  note  on 
Plautus'  Mostellaria  u,  ii.  14  (1.  444:  sed  quid  hoc?  occlusa  ianua  est  inter- 
dius) :  ^' Claudebantur  quidem  interdiu  fores  intus,  sed  non  foris;  nisi  aut  cum 
aedes  essent  vacuae,  aut  cum  paterfamilias  eos  qui  domi  erant,  nolebat  domo 
egredi  posse.  Claudebantur  autem  fores  aedimn  clavi  Laconica."  (Delphine 
edition  Var.  Clas.  iv.  p.  1966).  Valpy's  note  on  the  same  passage  (Delphine 
edition  Var.  Clas.  ii,  p.  817)  is  almost  identical  with  that  of  Lambinus: 
''Januae  erant  duae:  una  in  quam  de  vicis  gradus  fiebat,  et  quae  etiam  nunc  a 
nostris  exterior  dicitur;  altera  interior:  haec  semper  erat  clausa;  ilia  nunquam, 
nisi  aut  noctu,  aut  cum  vacuae  essent  aedes  et  claudebatur  Laconica  clavi. *' 
Ussing  has  two  notes,  written  in  1875,  to  the  same  effect :  (a)  Most.  4:44:  (435) : 
"occlusam,  saltem  extrinsecus,  ianuam  esse  parum  conveniebat  diurno  tem- 
pore, quo  ventitabant  homines  et  pulsantibus  ianitor  intus  aperiebat"  (b) 
Amph.  1011:  "Januae  interdiu  apertae  esse  solebant."  The  same  doctrine 
is  frequently  promulgated  in  school  editions.^ 

This  theory  embodies  two  distinct  propositions,  (1)  that  the  ianua  was 
generally  kept  open  by  day,  and  (2)  that  there  was  an  inner  door  which  was 
usually  kept  closed.  The  validity  of  the  second  proposition  depends  upon 
the  validity  of  the  first;  for,  if  it  can  be  shown  that  the  ianua  was  generally 
open,  we  should  be  compelled  to  admit  the  existence  of  an  inner  door,  usu- 
ally closed,  in  order  to  account  for  the  numerous  references  to  knocking  at  a 
closed  door,  and  to  the  noise  made  at  the  door  in  going  out  of  the  house 
(crepare-concrepare) .  On  the  other  hand,  if  there  is  no  ground  for  the  asser- 
tion that  the  ianua  was  generally  open,  the  only  reason  for  assuming  that 
there  was  an  inner  door  is  thereby  done  away  with.     The  assertion  that  the 

1  See  e.g.  Tyrrell,  Mil.  Glo.,  note  on  1.  154;  Ashmore,  And.,  note  on  1.  682;  Fair- 
clough,  And.,  note  on  1.  682. 

11 


12  HOUSE-DOOR  ON  THE  ANCIENT  STAGE 

outer  door  was  not  kept  closed  during  the  day  is  based  on  three  passages 
in  Plautus,  in  which  surprise  is  expressed  by  a  character  who  approaches  a 
house  and  finds  the  street-door  occlusa.  Let  us  now  enter  into  a  discussion 
of  these  passages. 

1.  Amph.  1018:  sed  aedes  occluserunt.  eugepae!^  Juppiter  in  the  guise 
of  Amphitruo  has  gone  into  the  house  (1.  983)  and  is  closeted  with  Alcumena. 
Mercury  also  enters  the  house  when  he  sees  Amphitruo  approaching  (1.  1005), 
announcing  that  he  will  ascend  to  the  roof  and  in  the  guise  of  Sosia  mock  his 
pretended  master  and  keep  him  from  entering  the  house  while  Juppiter  is 
there:  11. 1007f. :  ibo  intro,  ornatum  capiam  qui  potis  decet;  |  dein  susum  ascen- 
dam  in  tectum,  ut  ilium  hinc  prohibeam.  Amphitruo  arrives  and  purposes 
to  enter  his  house  (1.  1015),  of  course  without  knocking,  but  on  trying  the 
door  finds  it  locked:  11.  1018  ff.:  sed  aedes  occluserunt.  eugepae,  .  .  .  feriam 
foris.  I  aperite  hoc.  heus,  ecquis  hie  est?  ecquis  hoc  aperit  ostium?  Mercury 
answers  from  the  roof  and  Amphitruo  continues  to  knock  vigorously  at 
the  door  (11.  1022,  1026).  The  whole  situation  demands  that  the  door  be 
locked,  bolted,  and  barred.     Mercury  evidently  locked  it  as  he  went  in. 

2.  Most.  444:  sed  quid  hoc?  occlusa  ianua  est  interdius.  Tranio,  on 
returning  from  the  harbor  (11.  348  ff.),  announces  to  Philolaches  that  his 
father  Theopropides  has  arrived:  1.  365:  pater,  inquam,  tuos  venit.  Philo- 
laches is  greatly  disturbed  (11.  369  ff.)  at  his  father's  unexpected  return  and 
wishes  to  conceal  from  the  old  gentleman  the  revelrj^  that  has  been  going  on 
in  front  of  the  house  during  the  preceding  scene  (11.  313  ff.).  Tranio's  in- 
genuity solves  the  difficulty.  At  his  suggestion,  Philolaches  and  his  fellow- 
revelers  go  into  the  house  (11.  397  ff.)  and  Tranio  locks  the  door  on  the  out- 
side while  the  puer  locks  it  on  the  inside:  1.  405:  hasce  ego  aedis  occludam 
hinc  foris.  11.  425  f . :  clavem  cedo  atque  abi  intro  atque  occlude  ostium,  |  et 
ego  hinc  occludam. 

3.  Stick.  308:  quid  hoc?  occlusam  ianuam  video.  It  is  indeed  true  that 
this  door  was  open  in  1.  87:  sed  apertast  foris.  Now,  however,  it  is  closed 
and  locked,  otherwise  Pinacium,  who  is  a  house-slave,  would  certainly  en- 
ter without  completely  fatiguing  himself  by  continuing  to  knock  violently 
upon  it:  11.  308ff.:  ibo  et  pultabo  foris.  .  .  .  vide  quam  dudum  hie  asto  et 
pulto  .  .  .  experiar  fores  an  cubiti  ac  pedes  plus  valeant  .  .  .  defessus  sum 
pultando. 

It  has  been  shown  that  the  doors  in  the  three  passages  just  discussed 
were  locked.    That  occludere  means   "lock"  is  clear  not  only  from  the 

*  In  citing  passages  from  Plautus  Leo's  text  is  used. 


FORES,    lANUA,    OSTIUM  13 

manner  of  its  use  by  Tranio  in  the  Mostellaria,  but  from  its  use  in  other 
passages.^  If  one  may  judge  from  Menander,  Epitr.  535-6:  17  dvpa  Tratryrea, 
K€K\€Lfievr]  yap  ean,  the  word  ocdusa  translates  KeK\eifxevr]  in  the  original. 
We  must  conclude,  therefore,  that  the  statements  of  Lambinus,  Valpy,  Ussing, 
and  all  others  who  claim  that  the  ianua  remained  open  by  day,  have  been 
based  upon  a  misconception  of  the  real  significance  of  the  passages.^  The 
surprise  is  occasioned  in  each  instance,  not  because  the  door  is  shut,  but 
because  it  is  locked. 

It  may  be  thought  that  the  passages  discussed  below,  in  which  the  door 
is  represented  as  remaining  open,  are  opposed  to  our  contention  that  it  was 
customary  to  keep  the  street-door  closed  during  the  day.  A  close  investiga- 
tion of  the  passages,  however,  shows  that  these  apparent  exceptions  are  in 
favor  of  the  view  that  the  door  was  ordinarily  kept  shut. 

1.  Stick.  87:  ibo  intro.  sed  apertast  foris.  Antipho,  when  about  to  enter 
the  house  of  his  daughter,  is  surprised,  as  the  word  sed  shows,  to  find  the 
door  open.  The  reason  it  is  open  is  that  his  daughter  has  just  come  out  and 
is  pacing  up  and  down  in  front  of  it  in  conversation  with  her  sister.  The 
same  door  is  subsequently  closed  and  locked  (11.  308  ff.). 

2.  Men.  351 :  sine  fores  sic,  abi,  nolo  operiri.  The  fact  that  Erotium, 
on  leaving  the  house  only  for  a  moment  to  speak  to  Menaechmus,  has  to  give 
her  slave  direct  orders  not  to  close  the  door,  makes  it  manifest  that  the  door 
in  her  house  was  usually  kept  closed. 

3.  Bacch.  723:  cedo  manum  ac  subsequere  proprius  me  ad  fores,  intro 
inspice.  Chrysalus,  the  slave  of  Mnesilochus,  has  promised  to  get  some 
money  out  of  his  master's  father.  In  carrying  out  his  scheme  he  sends  Pis- 
toclerus  into  the  house  of  the  Bacchides  to  get  material  for  ^\Titing  a  letter 
(1.  715).  While  Pistoclerus  is  aw^ay,  Chrysalus  asks  Mnesilochus  where  the 
company  proposes  to  have  dinner.  In  answer,  Mnesilochus  leads  him  to  the 
door  and  lets  him  look  in.     As  he  says  nothing  of  opening  the  door,  it  is  prob- 

3  See,  for  example,  Cist.  649:  ubi  estis,  servi?  occludite  aedis  pessulis,  repagulis. 
Aul.  103  f . :  occlude  sis  fores  ambobus  pessulis.  Stichus'  video  in  the  passage  quoted 
above  is  not  to  be  taken  literally,  for  of  course  he  cannot  "see"  that  the  door  is 
locked.  He  uses  it  instead  of  a  verb  denoting  general  sense-perception:  "The  door 
is  locked,  I  see." 

^  This  conclusion  is  supported  by  Becker,  Gallus  (Eng.  Trans.)  p.  241:  "The  door 
was  closed  during  the  day  but  not  generally  fastened;"  by  Lorenz  ad  Most.  1.  444: 
"Sie  (ianua)  war  am  Tage  gewohnlich  nur  geschlossen,  nicht  verschlossen;"  by  Mart- 
ley,  ''Remarks  and  Suggestions  on  Plautus,"  Hermathena  IV  (1883)  pp.  .303  ff.:  "The 
ianua  or  ostium  was  as  a  rule  kept  shut;"  by  Marquardt,  Privatlebenp.  235:  "Uebrigens 
pflegte  man  die  Hausthiir  am  Tage  nicht  zu  verschliessen." 


14  HOUSE-DOOR  ON  THE  ANCIENT  STAGE 

ably  open  already;  but  this  is  easily  explained.  Pistoclerus,  intending  to 
return  soon  (1.  725),  has  left  it  open  temporarily,  being  in  too  much  of  a 
hurry  to  shut  it.  At  any  rate,  the  same  door  was  closed  in  11.  573  ff.  and  has 
to  be  opened  again  in  1.  833:  forem  hanc  i)auxillum  aperi;  placide,  ne  crepa. 

4.  Rud.  1202:  accedam,  opinor,  ad  fores,  quid  conspicor?  Daemones 
has  just  (1.  1191)  come  out  of  his  house  and  is  waiting  for  Trachalio,  who  is 
expected  to  come  at  once  upon  the  scene  through  the  same  door:  1.  1200: 
iussique  exire  hue  servom  eius.  Trachalio  delays  in  the  house  and  this  causes 
Daemones  to  step  to  the  door  and  look  in.  There  is  nothing  to  show  that 
the  door  remained  open  between  11.  1191  and  1202,  but,  if  it  did,  it  was  due 
to  the  fact  that  Trachalio  was  expected  to  come  out  any  moment.  The  same 
door  was  shut  in  1.  413:  heus  ecquis  in  villast?  ecquis  hoc  recludet? 

Two  phrases  occur  in  Plautus  which  might  be  taken  to  imply  an  open 
hallway  and  be  cited  in  support  of  the  theory  of  an  open  ianua.  But  they 
are  far  too  vague  to  justify  such  an  assumption. 

1.  Merc.  477:  omnia  ego  istaec  auscultavi  ab  ostio,  omnem  rem  scio. 
Charinus,  thinking  himself  alone,  is  bewailing  his  misfortunes  in  front  of  the 
house.  His  friend  and  neighbor  Eutychus  calls  him,  explaining  that  he  has 
heard  ah  ostio  all  that  had  taken  place  between  him  (Charinus)  and  his 
father  in  the  preceding  scene. 

2.  Aul.  666:  tantisper  hue  ego  ad  ianuam  concessero.  Strobilus,  who  is 
trying  to  get  into  his  possession  Euclio's  money,  notices  that  the  miser  is 
coming  out  of  the  temple  of  Fides.  Strobilus  steps  aside  and  conceals  him- 
self near  the  door  (ad  ianuam)  that  he  may  overhear  Euclio's  plans  about 
hiding  his  gold. 

To  explain  these  two  passages  we  need  only  assume  a  shallow  recess  in 
front  of  the  door,  or  a  prothyron  or  porticus.  As  for  such  expressions  as  ante 
aedes  and  ante  ostium,  Lundstrom  has  shown,  by  his  comprehensive  investi- 
gation, that  they  do  not  imply  an  open  hallway  with  two  doors  but  refer  to 
the  space  on  the  outside  of  the  house. ^ 

Since  it  has  been  shown,  as  we  think,  that  it  was  usual  for  the  street-door 
to  remain  shut  during  the  day,  let  us  now  endeavor  to  show  that  ianua, 
fores,  and  ostium  are  applied  to  this  door  without  any  distinction.  The  usage 
of  these  words  as  found  in  Plautus  and  Terence  is  first  taken  into  considera- 
tion and  then  we  pass  to  later  times  and  cite  passages  to  show  that  the  same 
usage  was  still  in  vogue.  In  each  passage  given  below,  the  language  and 
action  show  that  the  words  used  must  refer  to  one  and  the  same  door. 

•  ''Aussen  oder  Iiinen,"  Eranos  I.    pp.  95  fif. 


FORES,   lANUA,   OSTIUM  15 

PLAUTUS  AND   TERENCE 

I.  Fores,  ianua,  and  ostium  refer  to  the  same  door:  Most  444  f.:  sed 
quid  hoc?  occlusa  ianua  est  interdius.  I  pultabo.  heus,  ecquis  intust?  aper- 
itin  fores?  In  11.  429,  453,  456,  461,  506,  516,  and  521  this  door  is  again  re- 
ferred to  by  fores.  Ianua  is  again  used  for  the  same  door  in  1.  512.  Ostium 
refers  to  it  in  11.  411  b  and  425.  The  fact  that  the  door  is  locked  (11.  400, 
405,  425,  426)  proves  that  the  three  words  must  refer  to  the  same  door. 

II.  Fores  and  ianua  refer  to  the  same  door:  Stick.  308:  quid  hoc?  oc- 
clusam  ianuam  video,  ibo  et  pultabo  fores.  True.  254  f . :  sed  fores,  quidquid 
est  futurum,  feriam.  |  ecquis  huic  tutelam  ianuae  gerit?  ecquis  intus  exit? 
Asin.  384  ff.:  quis  nostras  sic  frangit?  .  .  .  nolo  ego  fores  conservas  I 
meas  a  te  verberarier.  .  .  .  Pol  hand  periclum  est,  cardines  ne  foribus  effrin- 
gantur.  .  .  .  ita  haec  morata  est  ianua;  extemplo  ianitorem  I  clamat,  pro- 
cul  si  quem  videt  ire  ad  se  calcitronem. 

III.  Fores  and  ostium  refer  to  the  same  door:  Most.  1046:  ostium  quod 
in  angiportu  est  horti,  patefeci  fores.  Amph.  1019  f. :  feriam  foris.  I  aper- 
ite  hoc.  heus,  ecquis  hie  est?  ecquis  hoc  aperit  ostium?  Capt.  830  ff . :  heus  ubi 
estis?  ecquis  <hic  est?  ecquis  >  hoc  aperit  ostium?  .  .  .  aperite  hasce  am- 
bas  fores  |  prius  quam  pultando  assulatim  foribus  exitium  adfero.  Merc. 
130  ff. :  et  etiam  cesso  foribus  facere  hisce  assulas?  aperite  aliquis.  .  .  .  num 
quisquam  adire  ad  ostium  dignum  arbitratur.    Ps.  604  ff. :  ostium  pultabo. 

.  .  .  nam  ego  precator  et  patronus  foribus  processi  foras.  Bacch.  581  f. : 
fores  pultare  nescis.  .  .  .  ecquis  hoc  aperit  ostium?  Pers.  569 :  at  enim  illi 
noctu  occentabunt  ostium,  exurent  fores.  Heaut.  275  f. :  Dromo  pultat  fores; 
I  anus  quaedam  prodit;  haec  ubi  aperit  ostium.  Ad.  632  ff.:  accedam  ad 
fores.  .  .  .  aperite  aliquis  actutum  ostium.  637  f.:  sed  quis  ostium  hie 
pultavit?     .  .  .  tune  has  pepulisti  fores?^ 

CICERO   AND   APULEIUS 

I.  Fores  and  ianua  refer  to  the  same  door:  Cicero,  N.D.  2.27.67:  fores- 
que  in  liminibus  profanarum  aedium  ianuae  nominantur.  Apuleius,  Met. 
1.22:  et  cum  dicto  modico  secus  progressus  ostium  accedo  et  ianuam  firmiter 
oppessulatam  pulsare  vocaliter  incipio.  tandem  adulescentula  quaedam  pro- 
cedens  "heus  tu''  inquit  "qui  tam  fortiter  fores  verberasti?"  .  .  .  "Dum 
annuntio"  inquit  "hie  ibidem  me  opperimino'^  et  cum  dicto  rursum  foribus 
oppessulatis  iritro  capessit.  modico  deinde  regressa  patefactis  foribus  "ro- 

•  In  citing  passages  from  Terence  Tyrrell's  text  is  used. 


16  HOUSE-DOOR  ON  THE  ANCIENT  STAGE 

gat  te"  inquit.  Apuleius,  Met.  3.1:  quati  fores  interdum  et  frequent!  cla- 
more  ianuae  nostrae  perstrepi.    Met.  9.20:  ianuam  pulsat,  saxo  fores  verberat. 

From  the  evidence  that  has  been  presented  it  is  obvious  (1)  that  the 
street-door  was  usually  kept  closed  during  the  day,  and  (2)  that  ianua  and 
Jores  are  applied  without  any  distinction  to  it.  While  ostium  refers  espe- 
cially to  the  doorway,  it  is  also  often  applied  to  the  door  itself,  just  as  we  use 
the  word  "door"  indiscriminately  of  both  the  door  and  the  doorway.^ 

The  evidence  that  has  been  presented  shows  that  everything  points  to 
the  conclusion  that  there  was  but  one  door  at  the  main  entrance  of  the  house 
in  the  back-scene  and  that  it  was  kept  closed  during  the  day.  This  conclu- 
sion is  supported  by  the  likelihood  that  there  was  only  one  door  in  the  Greek 
new  comedy.  At  any  rate,  there  is  nothing  in  what  we  have  of  Menander 
which  suggests  two  doors;  either  at  dbpai  or  17  Bvpa  (the  door)  is  invariably 
used  and  most  likely  shows  that  there  was  but  one  door.^ 

Let  us  now  consider  such  evidence  as  may  be  gathered  from  archaeolog- 
ical sources.  Of  the  private  houses  whose  remains  have  been  found  at  Delos, 
the  house  above  the  Inopus  has  one  door  {B.C.H.  19  (1895),  p.  506,  pi.  5)  and 
each  of  the  following  has  two  doors:  the  house  north  of  the  sacred  lake  (ibid, 
p.  486,  pi.  33);  the  house  on  the  hill  (ibid,  p.  494,  pi.  5);  the  house  in  the 
"Street  of  the  Theater"  (ibid,  p.  498,  pi.  5);  and  the  house  west  of  the  sacred 
lake  (ibid,  p.  511).  The  house  in  Dystus,  Euboea,  has  two  doors  {Athen. 
Mitt.  p.  458  f.,  Taf.  V).  At  Priene  the  houses  had  only  one  door  each 
(Wiegand-Schrader,  Priene,  pp.  285  ff.)^ 

For  the  Romans,  however,  there  is  archaeological  evidence  from  Pom- 
peian  houses  which  goes  to  show  that  there  was  but  one  door.  Mau  (Fiihrer 
durch  Pompeji  p.  8)  makes  this  statement  about  private  houses:  "Von  der 
Strasse  war  das  Atrium  durch  einen  kurzen  Gang  (fauces  oder  prothyron) 

'  Martley  (I.e.)  concludes  that  "the  fores  and  the  ianua  were  not  distinct  doors". 
Ramsay,  note  on  Most.  II,  ii.  23-25,  says:  "The  words  generally  employed  by  the  dram- 
atists to  denote  the  outer  door  of  a  dwelUng-house  are  ianua,  ostium,  and  foris  or 
fores."  Tyrrell,  note  on  Mil.  154,  says:  "The  terms  ostium,  ianua,  and  fores  seem  to 
be  used  indiscriminately  for  both  the  inner  and  the  outer  door." 

•  See  e.g.  Epitr.  485;  Per.  126,  426;  Sam.  85,  151,  210,  222,  324. 

•One  passage  in  Lysias  (12*16:  ravra  Siavorjdds  i<t>evyov,  kKtlvcov  kiri  ri  aiXeU^  Ovpq. 
riiv  4>v\aKiiv  voiovfiipuy)  seems  to  contain  nothing  that  would  justify  one  in  concluding 
that  there  was  more  than  one  door  connected  with  the  entrance  to  this  house,  while 
in  another  passage  from  the  same  writer  (1*17:  iv  kKtlvn  tv  vvktI  bf/6<t>ti  1)  ukravKos  dbpa 
Kal  ii  cXKtios)  two  doors  are  apparently  indicated.  On  this  subject  see:  Daremberg- 
Saglio,  s.  V.  xanua\  MOller,  Handbuch  IV.  1,  2,  8.y.  niaav\os',  Becker,  Charicles  (Eng. 
Trans.)  pp.  251  fif. 


FORES,   lANUA,   OSTIUM  17 

zuganglich,  in  welchem  die  Thiir  entweder  unmittelbar  an  der  Strasse  oder 
etwas  weiter  einwarts  angebracht  war.  In  letzterem.  Falle  wird  der  vor  der 
Thiir  liegende,  also  unverschlossene  Teil  des  Ganges  vestibulum  genannt." 

Having  decided  that  each  house  represented  in  the  back-scene  in  the 
dramas  of  Plautus  and  Terence  had  but  one  door  and  that  it  was  usually- 
kept  closed,  let  us  conclude  the  first  chapter  of  this  dissertation  by  endeavor- 
ing to  ascertain  whether  the  stage-door  was  composed  of  two  folding-pieces 
or  only  one. 

The  use  of  ambas  in  two  passages  in  Plautus  (Most.  453 :  has  ambas  foris; 
Capt.  831 :  hasce  ambas  fores)  is  unquestionable  evidence  that  these  two  doors 
were  double.  Additional  evidence  in  the  same  direction  is  the  fact  that 
nearly  all  the  vases,  wall-paintings,  and  reliefs,  representing  dramatic  scenes, 
show  the  double  door.^^^  Furthermore,  the  private  houses  in  Priene  (Wie- 
gand-Schrader,  p.  305)  and  Pompeii  (Mau-Kelsey,  p.  242)  had  doors  of  this 
kind.  There  is  also  a  passage  in  Lucretius  which  tends  to  show  that  the  door 
was  double:  iv,  276:  inde  fores  ipsae  dextra  laevaque  secuntur. 

That  both  the  singular  (foris)  and  the  plural  (fores)  are  often  applied  to 
the  same  door  is  obvious  from  the  following  lists  of  citations  from  Plautus, 
for  in  each  list  the  citations  refer  to  the  front  door  of  the  same  house:  (1) 
Mil.:  foris  concrepuit  (154),  fores  crepuerunt  (410),  aperitur  foris  (528); 
(2)  Mil.:  fores  crepuerunt  (270),  foris  (con)  crepuerunt  (328),  aperitur  foris 
(1198);  (3)  Most.:  hasce  ambas  foris  (453),  concrepuit  foris  (506),  istas  fores 
(516),  has  fores  (900);  (4)  Most.:  foribus  (829),  foribus  (854),  foris  concrepuit 
(1062);  (5)  Bacch.:  concrepuerunt  fores  (610);  fores  (723),  forem  (833),  fores 
(1118);  (6)  Bacch.:  foris  concrepuit  (234),  fores  (798),  crepuit  foris  (1057);  (7) 
Cas.:  foris  concrepuit  (163),  foris  crepuit  (874),  concrepuerunt  fores  (936); 
(8)  Amph.:  pultabo  foris  (449),  crepuit  foris  (496),  feriam  foris  (1019),  fores 
(1022),  foribus  (1026),  istas  fores  (frag.  v.). 

In  view  of  the  evidence  that  has  been  cited  and  in  view  of  the  fact  that 
the  plural  (fores)  occurs  much  more  often  than  the  singular  (foris),  it  is  likely, 
if  not  probable,  that  the  doors  were  usually  in  two  pieces  and  that /ores  must 
be  interpreted  as  indicating  a  double  door.  It  is  self-evident  that  the  sin- 
gular (foris)  could  refer  to  single  doors,  if  there  were  any.  It  is  obvious,  how- 
ever, from  the  above-quoted  citations  that,  even  if  the  singular  (foris)  to 
the  exclusion  of  the  plural  (fores),  should  refer  throughout  a  play  to  the  same 
door,  this  would  not  be  positive  evidence  that  the  door  in  question  had  but 
one  fold,  for  the  singular  (foris)  may  have  reference  either  to  the  door  as  a 

"  See  list  in  chap.  IV,  pp.  98  ff.  The  double  door  is  shown  in  nos.  1,  2,  3,  4,  6,  7, 
8,  9,  10  and  12. 


18  HOUSE-DOOR  ON   THE  ANCIENT  STAGE 

whole  irrespective  of  its  number  of  folds  or  to  only  one  of  the  two  folding 
doors."  It  is  probable  that  at  OOpai.  in  Menander  is  to  be  interpreted  in  the 
same  way  as  fores. 

**  That  fores  refers  to  a  double  door  is  the  opinion  of  the  following:  Bliimner,  Die 
Rdm.  Privataltertumer,  p.  17;  Martley,  Hermathena  IV,  pp.  303  ff.;  Sloman,  Andria,  note 
on  1.  264;  Ramsay,  Mostellaria,  note  on  II,  ii.  23-25;  Gray,  Heauton,  note  on  1. 173;  West. 
Andria,  note  on  1.  580. 


CHAPTER  II 
Knocking  at  the  Door  in  the  Drama 

It  was  usual  among  the  Greeks  and  the  Romans  in  their  daily  life  for 
one  to  knock  before  going  into  another's  house.  That  this  was  the  rule 
among  the  Greeks  is  sufficiently  obvious  from  these  passages:  Aristoph.  Lys. 
1065  ff. :  eXr  etao)  ^adi^eLV,  \  fJLr)8*  epeadac  jJLTjSeva,  \  dXXd  x^P^t^  avriKpvs  \  cbairep 
otKad'  els  lavTOiv  \  yevviKcos,  cos  |  rj  dvpa — KeKX-paerai.  Plut.  Cimon  17:  /cat  yap 
dvpav  KoypavTos  oKKorpiav  ovk  eloLkvai  irpoTepov  ?)  tov  Kvpiov  KeKevffat.  Plut.  Moralia 
516  E:  KairoL  iiri  Koypavra  ye  dvpav  €ts  oiKiav  oKKbrpiav  ov  vojil^eTai  irapeKdelv. 

The  practice  of  knocking,  so  common  in  private  life,  is  rarely  reproduced 
in  the  classical  tragedy,  there  being  only  two  instances,  one  in  Aeschylus  and 
one  in  Euripides.  In  both  places  knocking  is  employed  as  a  means  of  bringing 
actors  upon  the  scene  from  the  house.  As  a  substitute  for  knocking,  the  tra- 
gedians, especially  Euripides,  often  have  a  character  summon  someone  from 
the  house  by  means  of  calling,  though  the  calling  may  have  been  accom- 
panied by  •knocking,  even  when  the  text  says  nothing  of  the  latter.^^  An 
explanation  of  this  frequent  substitution  of  calling  for  knocking  in  the  tragic 
•writers  may  be  that  smnmoning  a  person  from  the  house  by  the  voice  was  re- 
garded as  more  dignified  than  by  making  a  noise  upon  the  door.  Certain  it 
is,  at  any  rate,  that  knocking  is  reserved  for  occasions  of  great  urgency  or 
excitement  (Aes.  Gho.  652;  Eur.  Iph.  Taur,  1286  i.)P 

The  practice  of  summoning  a  person  from  a  house  by  calling  persists  in  the 
comic  writers  along  with  the  practice  of  knocking,  but  the  latter  is  found 
much  more  frequently  than  in  the  tragedians.^^    The  plays  of  Aristophanes 

12  Aeschylus:  Cho.  881:  Sophocles:  Phil.  1261,  Ajax  784;  Euripides:  Phoen.  296  ff., 
1067  f.,  Orest.  112,  Bac.  170,  912,  Iph.  Aul.  1,  863,  1532,  Elec.  750,  HeracUd.  642,  Hec.  172, 
Med.  894,  Hel.  435;  Seneca:  Med.  843. 

1'  A  less  probable  explanation  is  that  it  may  be  a  tradition  from  an  earlier  period, 
for  Plutarch  tells  us  that  the  Spartans  did  not  knock  but  called  out:  Moralia  239  A: 
Wos  vp  avTols  nrjSk  Koimtv  ras  avXeiovs,  aXX*  e^oidep  fioav. 

1*  Calling:  Aristophanes:  Ach.  748,  Eq.  725  ff..  Nub.  866  f.,  1165,  1221,  Pac.  179, 
254  f .,  Lys.  1106  f .,  1216,  Eccl.  960  ff. ;  Menander  (Koerte's  text) ;  Jab.  inc.  p.  145, 11.  18  f . ; 
Plautus:  Aul.  349,  Most.  339,  Trin.  1174  ff.,  Men.  673  f.,  Ps.  1139,  1284,  Rud.  481;  Ter- 
ence: Eun.  530,  Heaut.  743,  Hec.  720.  Calling  and  knocking:  Aristophanes:  Ach.  403  f., 
Nub.  132,  1144  f.,  Av.  56  f.,  Ran.  37  f.,  460  ff.;  Menander:  Epitr.  535  ff.;  Plautus:  Amph. 
1018  f..  Most.  445,  899  f.,  936  f.,  988,  Poen.  1118  ff.,  Trin.  868  ff.,  Merc.  130  f..  Mil.  1297, 
Bacch.  581  f.,  Capt.  830  ff.,  Ps.  604  f.,  Rud.  413  f.,  Stich.  308  f.;  Terence:  Ad.  633  f. 

19 


20  HOUSE-DOOR  ON  THE  ANCIENT  STAGE 

have  ten  cases  of  knocking  and  in  every  instance  it  is  used  as  a  means  of 
bringing  actors  upon  the  scene.  Meoander  has  three^^  instances,  Plautus 
twenty-one,  and  Terence  two.  These  writers  usually  employ  knocking  as  a 
device  for  bringing  characters  upon  the  scene  of  action.  In  Plautus  there 
are  some  cases  in  which  knocking  results  in  neither  the  entrance  of  a  charac- 
ter upon  the  stage  nor  his  exit  from  it. 

Instances  of  knocking  classified  according  to  the  effect  on  the  ac- 
tion.i« 

I.  Knocking  brings  a  character  upon  the  scene:  Aeschylus:  Cho.  652 
(of.  561-569);  Euripides:  Iph.  Taur.  1286-1304-1308;  Aristophanes:  Ach.  395 
ff.,  1072,  Nuh.  132  ff.,1144.  At;.,  53  ff..  Ran.  37  f.,  460  ff.,  Ecd.  34  (scratching), 
976  f..  Pint.  1097  flf.;  Menander:  Eyitr.  535  ff.,  Per.  64,  182;  Plautus:  Poen. 
1118  ff.,  Bacch.  578  ff.,  Rud.  413  f.,  True.  254  ff.,  Stick.  308  ff.,  Terence:  Ad. 
633  ff . 

In  a  few  cases  a  speaker  intends  to  knock  and  call  for  a  person,  but  the 
action  becomes  unnecessary,  as  the  desired  character  appears :  Plautus :  Poen. 
728  ff.,  Men.  176;  Terence:  Heaut.  410  ff. 

In  Amph.  1019  f.  Mercury,  in  the  guise  of  Sosia,  does  not  come  out 
when  summoned  by  knocking,  but  appears  on  the  house-top  and  attempts  to 
drive  away  Amphitruo,  who  has  knocked  (cf.  Eur.  Orest.  1567  ff.). 

II.  Knocking  results  in  neither  the  entrance  of  a  person  upon  the  scene 
of  action  nor  the  exit  of  a  person  from  it.  (a)  The  person  wanted  is  already 
outside,  but  the  other  does  not  know  of  his  presence  and  therefore  knocks: 
Plautus:  Merc.  130  f.,  Capt.  830  ff.,  Ps.  1121  ff.  In  two  instances  a  person 
knocks,  pretending  not  to  be  aware  of  the  presence  of  the  person  desired: 
Plautus:  Mil.  1254,  1297.  (b)  A  third  person  intervenes,  so  that  the  in- 
tended action  is  not  accomplished:  Plautus:  Most.  445-521,  898  ff.,  936-988, 
Asin.  382,  Ps.  604  f.,  Trin.  868  ff.,  Amph.  449,  Men.  987. 

THE   VOCABULARTf    OF   KNOCKING 

Let  us  now  consider  the  vocabulary  used  in  describing  knocking.  The 
various  verbs  employed  for  this  purpose  will  be  discussed  and  such  distinc- 
tions as  are  apparent  will  be  drawn.  The  frequency  of  the  different  words 
will  be  noted  only  for  the  drama,  since  an  exhaustive  study  of  classical  lit- 
erature in  general  has  not  been  made. 

"  Those  in  the  fragments  are  not  counted. 

*•  As  already  pointed  out,  in  some  instances  knocking  is  accompanied  by  call- 
ing. 


KNOCKING  AT  THE  DOOR  IN  THE  DRAMA  21 

KowTeLV 

The  word  most  frequently  employed  in  Greek  comedy  for  knocking  on 
the  front  door  is  KowreLv.  Aristophanes  thus  uses  it  ten^^  times  and  Men- 
ander  six.^^  This  verb  also  occurs  in  this  sense  in  Xenophon  (Hel.  5.  4.7), 
Demosthenes  (47.57),  Theophrastus  (4.9),  and  Heliodorus  (3.16).  It  seems 
to  be  the  only  one  used  by  Plutarch^^  to  indicate  knocking. 

Kpoveuv 

The  verb  that  comes  second  in  point  of  frequency  for  knocking  is  Kpoveiv. 
In  this  sense  it  is  found  four  times  in  the  drama  (Eur.  Hyps.  Oxyrh.  1.  4; 
Aristoph.  Eccl.  990;  frag.  564  (Kock  ii.  Ades.  510) ;  Posidip.  7  K).  It  is  used 
by  Xenophon  (Symp.  1-11),  and  seems  to  be  employed  by  Plato  to  the  ex- 
clusion of  all  others  {Symp.  212  C,  Prot.  310  A,  314  D).  Phrynichus^^  thinks 
that  KpoveLv  is  not  so  good  a  word  as  kottclv  for  knocking  on  the  door. 
Aristides^^^  {Rhet.  p.  807,  441),  however,  defends  both  words.  It  is  worthy 
of  note  that  Kpovecv  is  the  only  word  used  in  this  sense  in  the  New  Testa- 
ment.2^ 

It  is  reasonable  to  assume  that,  where  KowTeLv  and  Kpovetv  are  used 
alone,  we  are  to  understand  the  normal  way  of  knocking  with  the  knuckles. 
On  occasions  the  ancient  Greeks  used  canes^^  and  very  likely  similar  things 
for  rapping  on  the  door.  Though  they  had  knockers^^  there  is  but  one  ref- 
erence to  them  in  the  drama  (Eur.  Ion  1612). 

"Aristoph.:  Ach.  403,  Nub.  132,  133,  1144,  Ay,  56,  Ran.  460,  461,  Eccl.97Q,  Plut. 
1097, 1101;  Menander  (Koerte's  text) :  Epitr.  538,  Georg.  17,  Per.  64,  182,  frag.  124  (Kock 
3.36),  frag.  860-1  (Kock  2.229). 

^8  Solon  5,  Poblic.  20,  Cimon  17,  Alcibiades  8,  Pelopidas  9,  11,  Aratus  17;  Moralia 
239  A,  594  E,  597  D,  633  A,  784  B. 

^^  S.  V.  kStttci}'.  KpovcraL  fih  rriv  dvpav,  urcos  irov  Trapa^efilaffTai  i)  XPW''^-  afieivov  dk  t6 
KOTTTeiv  T-fiv  dvpav.    Cf.  also  schol.  ad  Aristoph.  Nub.  132. 

20  See  Schmid,  Atticismus  I,  p.  206. 

21  Math.  7.7,  7.8;  Luke,  11.9,  11.10,  12.36,  13.25;  Acts  12.13,  12.16;  Rev.  3.20. 

22  Plutarch  Aratus  17:  /cat  KeKXeLa-jjLevrjv  rrjv  TrvKrjv  evpobu  ckotttc  ry  ^aKrplq.  KtKebcav 
&poiyeiv.     Posidip.  7  K:  KopaKi  Kpoved'  rj  dvpa. 

22  Homer  0(Z.  1*441:  dOprjp  8'  kirkpva-e  Kopdovrj  apyvpeij.  Herod.  6*91:  els  5e  rts  tovtcov 
kK(t)vyd}v  TO.  dea-fia  KaTa(f)€vy€i.  irpbs  irpodvpa  ^■qp.rjTpos  9e<Tp.o(f)6pov,  cTTiXa/x/So/iCJ'os  8k  T<hv  kirunra<r- 
Trjpuv  elx^To  (where  iirKnraa-Trjp  is  generally  thought  to  have  been  used  as  a  knocker  as 
well  as  a  handle).  Plut.  Moralia  516  E:  dXXa  vvv  n'ev  e'un  dvpcopoi,  TrdXat  5^  pSirrpa  Kpov- 
dfieva  irpos  rats  dvpats  at(Tdr]aLV  Trapelxe.  Pollux  7*111:  ols  irpocrQeTkov  6tl  fjv  "Oixrjpos  fxiv 
etpriKc  Kopoivrjv  ol  8k  vvv  KopaKa,  ovtcos  6iv6p.axre  koI  IIotretStTrTros  kv,  FaXdr^  eiirdiVy  KSpaKi  icXuerat 
(1.  Kpohed'  ri)  dvpa.  Pollux  10*22:  koI  tTrlairaaTpov  Kat  powTpov.  t6  y&p  kTriKpovov  t^jv  dipav 
ovTus  ojvonal^ov. 


22  HOUSE-DOOR  ON  THE  ANCIENT  STAGE 

'AparreLV,  Hpo<rapaTT€LV,  'EKKOwTiLV,  AaKTl^eiv,  UaUiv,  JlaraaaeLV,  Qkveiv 

Violent  knocking  is  expressed  by  the  verbs  just  mentioned.  The  first 
of  these  means  to  knock  furiously  and  occurs  only  three  times  in  the  drama 
(Eur.  Hec.  1044,  Iph.  Taur.  1304;  Aristoph.  Ecd.  977).  To  dash  against  the 
door  with  violence  is  indicated  by  TrpoaapaTTeiv  and  TraTaacreLv]  only  the  latter 
is  found  in  the  drama  and  this  but  once  (Aristoph.  Ran.  38).  Such  furious 
pounding  as  to  break  open  the  door  is  indicated  by  eKKOTrreiv,  which  is  not 
used  by  the  dramatic  writers;  it  does  occur  in  Lysias  (3.6,  frag.  75.5). 
Aristophanes  alone  of  the  writers  of  Greek  drama  employs  \aKTl^€Lv  {Nub.  136) 
and  BkveLv  (Av.  54),  where  rfiv  Trerpav  takes  the  place  of  riiv  dvpav.  To  strike 
the  door  with  vigor  is  denoted  by  iraUiv  and  it  is  found  but  twice  in  the 
drama  (Eur.  Or  est.  1221;  Men.  Epitr.  535,  here  for  the  sake  of  the  pun  with 
Tai6cs). 

Vevuv,  Opvyovav 

Two  comic  substitutes  for  KOTTeiv,  employed  by  Aristophanes,  are 
ytveii^  {Ran.  462)  and  dpvyovav^  {Ecd.  34);  the  latter  apparently  implies 
scratching  with  the  nails. 

PULTARE,    PULSARE 

The  two  verbs  most  frequently  used  for  knocking  in  Latin  writers  are 
pultare  and  pulsare.^^  Pultare  occurs  much  more  often  in  the  Roman  drama 
than  pulsare.  Plautus  uses  pvltare'^''  thirty-four  times,  pulsare  twice  {Rud. 
332,  Bacch.  579),  pulsatio  once  {Bacch.  583),  and  pultatio  once  {True.  258).  In 
Terence  pultare  alone  is  found  and  it  occurs  but  four  times  {Heaut.  275,  410, 
Ad.  633,  637).  Pulsare  is  also  found  in  one  comic  fragment  (Ribbeck  I. 
249.53)  and  is  used  by  Seneca  {Here.  Oet,  606)  in  the  only  instance  of  knocking 

"Schol.  ad  loc:  yeveiv:  &vtI  tov  fi^ai.  Thos.  Magister  S.  v.  kottco:  K&irTeL  t^p  dvpav 
t^(od€v  Kal  y€{>€Tai  rfjs  dbpa^.  'ApuTTO(f>avrjs  iv  Nc<^eXois:  '  tis  Icrd'  b  K6\f/as  t^  dvpav]*'  koI 
ToXtv  {iv  T<^  a{rr<^)ytv<Tai  Ttjs  dvpas. 

**Schol.  ad  loc:  dpvyovuxra:  ifavxtas  Kvuaa. 

'•  In  Keil's  Grammatici  Latini  (V,  pp.  626,  651),  Macrobius  makes  this  distinction 
between  the  two:  "  'pulto'  sunt  qui  accipiant  pro  eo  quod  est  'pulso'  et  6.TTtKUTn6v 
quendam  latinitatis  existimant,  ut  apud  illos  d&Xaaaa  daKarTa,  TrXdo-aw  TrXdrTw;  sed  'pul- 
tare' est  saepe  'pulsare,'  sicut  'tractare'  est  saepe  'trahere.'  " 

"  Men.  178,  987,  Ps.  604,  605,  1121,  Stick.  308,  310,  313,  Trin.  868,  870,  871,  Capt. 
830,  831,  832,  Mil.  1254,  1297,  1298,  Bacch.  578,  581,  Most.  403,  445,  453,  456,  457,  462, 
898,  936,  988,  Poen.  728,  729,  739,  1120,  Amph.  449,  Asin.  382. 


KNOCKING  AT  THE  DOOR  IN  THE  DRAMA  23 

found  in  his  dramatic  works.  Outside  the  Roman  drama,  puttare  does  not 
seem  to  be  used.^^  In  all  likelihood,  pultare  and  pulsar e,  like  KoirTeiv  and 
KpovHv  in  Greek,  ordinarily  imply  the  normal  method  of  knocking  with 
the  knuckles;  at  times  both  the  feet  and  the  hands  were  brought  into  vigor- 
ous action.2^ 

FRANGERE,    ARIETARE,    INSULTARE,    VERBERARE 

Violent  knocking  is  indicated  hyfrangere  or  one  of  its  compounds.  These 
occur  eleven  times  in  the  drama  and  all  eleven  instances  are  found  in  Plautus.^^ 
These  words  imply  such  vehement  knocking  as  to  break  down  the  door  and 
very  probably  mean  that  both  the  clenched  fist  and  the  feet  were  employed 
in  the  operation.  Arietare,  insuUare,  and  verherare  also  refer  to  unusually 
violent  knocking.  The  first  of  the  three  words  means  to  "butt  like  a  ram'^ 
(i.e.,  to  throw  the  body  forcibly  against  the  door),  and  is  found  but  once  in 
the  drama  (Plant.  True.  256).  Only  once  does  insultare  occur  (Ter.  Eun, 
285)  and,  as  it  is  accompanied  by  caldbus,  probably  implies  leaping  against 
the  door  with  both  feet.  Verberare^^  means  to  beat  vigorously  upon  the  door 
and  is  thus  employed  but  once  in  the  drama  (Plant.  Asin.  387). 

FERIRE,    PELLERE,    IMPELLERE,    PERCUTERE 

Other  verbs  employed  by  Latin  writers  for  knocking  on  the  front  door 
are  ferire,  pellere,  impellere,  and  percutere.  Of  the  dramatic  writers,  Plau- 
tus  alone  uses  ferire  and  he  does  so  only  four  times  {True.  254,  Amph.  1019, 
Men.  176,  Ps.  1135).  Only  twice  does  pellere  occur  in  the  drama,  once  in 
Plautus  (Amph.  frag.  V.)  and  once  in  Terence  (Ad.  638).  Impellere  is  iound 
in  Trabea  (apud  Cic.  Tuse.  4.67)  and,  as  it  is  accompanied  by  digito,  it  must 
here  imply  tapping  (cf.  Ter.  Eun.  284:  uno  digitulo  fores  aperis).  Percutere 
is  found  two  times  in  Plautus  {Most.  516,  521,)  but  not  elsewhere  in  the 

^^  Pulsar e,  not  pultare,  is  used  by  Propertius  (4.5,  47),  Horace  {Sat.  1.1.10,  Carm. 
1.4.13),  Ovid  {Met.  5.448),  Seneca  {De  Ben.  6.33.4),  Petronius  (16.92),  Statius  {Silv. 
1.2.48),  Quintilian  (5.10,  122),  Martial  (10.19.13),  Apuleius  {Met.  1.22,  9.20),  Tertullian 
{Apol.  20),  Ambrose  {Serm.  12.4),  New  Testament  {Math.  7.7,  7.8;  Luke,  11.9,  11.10, 
12.36,  13.25;  Acts  12.13,  12.16,  Rev.  3.20). 

29  See  Plautus  Stick.  311,  Most.  456,  Capt.  832,  Bacch.  579,  Asin.  384. 

30  Bacch.  586,  Most.  453,  456,  939,  Poen.  729,  Amph.  1022,  1026,  Asin.  384,  388, 
Stich.  326%  327. 

31  Verberare  is  thus  used  by  Apuleius  {Met.  1.22,  9.20)  and  in  one  passage  (9.20) 
is  accompanied  by  saxo. 


24  HOUSE-DOOR  ON  THE  ANCIENT  STAGE 

drama.     This  verb,^^  [[y^Q  jerire  and  pellere,  seems  to  indicate  giving  the  door 
a  sharp  rap. 

In  the  extant  Roman  drama  there  is  no  reference  to  knockers,  though  it 
is  obvious  from  the  excavations  in  Pompeii^  that  they  must  have  been  well 
known  among  the  Romans.  There  is  some  indication  that  bells^^  were 
attached  to  house-doors. 

"For  percutere  thus  used  see  also  TibuUus  (1.5.68:  plena  many),  Livy  (6.34.6: 
virga),  Petronius  (16.65),  and  Pliny  {N.  H.  7.112). 

"  See  Bliimner,  Die  Rom.  Privatalter turner,  pp.  19  f . 

"Suetonius,  Aiig.  91;  Marquardt,  Privatleben  p.  236;  Becker-Goll,  Gallus  II,  p. 
236. 


CHAPTER  III 

Knocking  at  the  Door  before  Coming  out  of  the  House 

It  was  considered  proper  for  a  person,  who  desired  admission  into  an- 
other's house  or  to  summon  a  person  from  another's  house,  first,  before  open- 
ing the  door  or  entering,  to  announce  his  presence  by  knocking  at  the  door  or 
by  caUing  out.  As  we  have  seen,  the  proprieties  in  this  matter  were  consist- 
ently observed  both  in  private  Hfe,  as  reflected  by  the  literature,  and  in  the 
representation  of  private  life  on  the  stage.  The  case  is  altogether  different, 
however,  when  a  person  is  about  to  come  out  of  a  house  either  his  own  or  an- 
other's. Such  a  custom  would  have  no  point,  in  the  case  of  a  private  house, 
unless  the  door  opened  outwards  upon  the  public  highway,  so  that  the  pas- 
sers-by might,  if  not  warned  by  a  knock  or  a  call,* come  into  collision  with  the 
door  and  be  injured.  In  the  case  of  the  theater,  however,  there  would  be  no 
such  danger  of  accident  if  an  outward-swinging  door  were  suddenly  thrown 
open  by  a  person  about  to  issue  from  the  house.  The  actors,  who  might  be  in 
front  of  the  house,  knew  in  advance  the  whole  course  of  action  and,  there- 
fore, would  need  no  warning.  If  the  custom  of  knocking  before  opening  the 
scene-door  for  entrance  upon  the  stage  was  ever  in  vogue,  the  explanation 
for  it  must  be  either  that  this  was  a  realistic  representation  of  the  manners 
of  daily  life  or  that  knocking  served  some  dramatic  purpose. 

It  is  necessary  for  the  student  of  the  Greek  and  Latin  drama  to  inquire 
into  this  question  for  several  reasons.  In  the  first  place,  we  have  definite 
statements  of  Plutarch  and  Helladius  to  the  effect  that  in  comedy  persons 
about  to  leave  a  house  knocked  and  caused  the  door  to  make  a  noise  for  the 
purpose  of  giving  passers-by  a  warning  that  they  were  coming  out.  In  the 
second  place,  it  is  possible  that  the  explanation,  which  the  lexicographers  and 
the  scholiasts  to  Aristophanes  give  of  \po(f)eLv,  the  specific  word  used  for 
the  noise  made  with  the  door  by  a  person  about  to  issue  from  it,  requires 
the  same  interpretation.  Finally,  the  transitive  use  of  the  word  xf/o(f)€lv  may 
indicate  an  intentional  knock. 

The  passages  in  Plutarch  and  Helladius  are  as  follows:  Plut.  Pohlic.  20 1^^ 
TU)v  5'aXXcoj/  Tore  dvpCiv  etao)  ttJs  oktas  els  to  Kketalov  avoLyo/Jikvcov,  eKelvrjs  fiovrjs  Trjs 

35  We  shall  later  (pp.  44-91)  refer  to  the  statements  of  Dionysius  of  Halicarnas- 
sus,  Pliny  the  Elder,  and  Asconius  about  the  house  of  Poblicola. 

25 


26  HOUSE-DOOR   ON  THE  ANCIENT  STAGE  ^ 

oiKLas  kiroirjaav  €Kt6s  ATrayecrdaL  rrjv  avXeiov,  cos  drj  Kara  to  avyx^PW^  t'H^  tljjltjs 
aei  Tov  Stuioctlov  irpoaeTrCkayL^OLVOL.  rds  5'  'EXXT/i'txas  irpoTepov  outcos  'ex^i-v  airdaas 
\eyov(n,  diro  KOJiiodbLOiv  \ap,^dvovTes,  otl  KoirTovai  kol  \po<f>ovaL  rds  avrcbv  dvpas  evdodev 
ol  TTpoikvaL  fik\\ovT€S,  OTTCOs  aLadr](TLS  e^oi  ykvoLTO  rots  irapepxoiievoLS  ^  irpoearciidL  /cat 
liri  KaraXafi^dvoLVTo  irpoLOuaaLS  rats  KXetaidaLV  ets  tov  (TTepwirov^  Hellad.  apud 
Phot.  Bibl.  Cod.  279:  otl  <f>r}(Tl  tovtov  x^-pt-v  kowtovcti  irapd  toIs  kc^hlkoIs  ol  e^tovTes 
rds  dvpas,  8l6tl  ovx,  cos  Trap'  ripZv  vvvl,  to  TraXatof  di'eco7WJ'ro  at  Supai,  dXX*  kvav- 
rtco  TpoTU).  €^co^€»'  ydp  aurds  dvaTpkirovT^s,  evdodev  e^fiecrav.  irpoTepov  be  ttj  x^tpt 
\{/6<f>ov  eiroLOVV  KpovovTes  eirl  tu)  yvoivai  tovs  eTTt  rcoi'  ^upcoj'  fcat  <f)v\d^aadaL  firj  TX-qyels 
c<7rcos  y^rjdfi  tcov  dvpicv  ddoviievoiv  a(f>vo). 

Plutarch  and  Helladius  agree  in  every  particular,  but  the  form  in  which 
the  lexicon-article  of  the  latter  is  cast  betrays  the  nature  of  the  antiquarian 
note  in  Plutarch  and  its  probable  source.  Helladius'  note  is  an  anwer  to  the 
question  5td  rt  k6xtov<tl  irapd  rots  KOifiiKols  ol  e^LovTes  rds  dvpas;  The  reader  of 
the  comic  texts  could  hardly  fail  to  raise  this  question,  for  he  observed  that 
the  poets  not  only  frequently  cause  their  actors  to  comment  on  the  noise 
made  by  or  on  the  door  at  the  entrance  of  a  character  from*  the  house,  but 
also  that  occasionally  a  verb  is  used  which  could  be  interpreted  as  meaning 
knocking,  e.g.  xf/oipelv  transitive,  TrXijTTeLv,  pellere.  If  he  interpreted  these 
passages  as  implying  or  positively  evidencing  an  intentional  knock,  he 
would  wonder  why  such  knocking  was  customary  on  the  stage,  for  it  was 
not  practiced  in  everyday  life.  The  explanation  given  by  the  commenta- 
tors, of  whom  Helladius  is  an  example,  is  that  the  stage-door  opened  out- 
wards— a  fact  not  so  readily  observed  by  the  casual  reader — and  that 
this  way  of  opening  the  door,  as  well  as  the  practice  of  knocking  before 
coming  out,  was  a  survival  from  an  earlier  time,  when  the  doors  of  private 
houses  opened  this  way  and  the  practice  of  knocking  had  a  practical 
purpose. 

This  explanation  was  current  before  the  time  of  Plutarch,  who  acknowl- 
edges his  source  to  be  the  commentators  on  comedy — Veyovai  .  .  .  dTrd  to3v 
Koj/juaSubv  \ap.^dvovTes — and  this  was  also  the  source  of  Helladius'  note.  Plu- 
tarch and  Helladius  are  but  one  witness.  We  shall  find  in  the  scholia  to 
Aristophanes  further  traces  of  the  same  interpretation  of  the  passages  in 
comedy  to  which  we  have  referred.^* 

»•  That  Plutarch  was  familiar  with  the  current  antiquarian  learning  of  his  day  has 
been  shown  by  Blass,  Siefert-Blass,  Plutarch,  Them.  u.  Per.  Einl.  p.  65.  He  knew  the 
scholia  to  Plato  and  the  comic  poets  and  made  free  use  of  Didymus.  It  is  not  improb- 
able that  Didymus  is  here  his  authority  and  that  of  Helladius.  It  is  to  be  observed, 
further,  that  the  passage  in  Plutarch  is  a  digression  and  has  a  marked  scholiastic  flavor. 


KNOCKING  AT  THE  DOOR  BEFORE  COMING  OUT  OF  HOUSE       27 

We  turn  now  to  the  scholia  that  are  preserved  in  which  the  implication 
is  found  that  in  comedy  a  person,  who  was  about  to  leave  the  house,  usually 
knocked  on  the  door.  We  shall  see  that  this  interpretation  probably  arose 
from  the  transitive  use  of  \f/o<f)elv,  for  example  in  the  phrase  k\l/6cl)r]K€  rrjv  dvpav 
TLs  e^LOJv  which  the  scholiasts  quoted  from  Menander.  We  observe,  also, 
that  no  explanation  of  the  supposed  custom,  such  as  that  proposed  by  the 
source  of  Plutarch  and  Helladius,  is  attempted.  One  of  the  notes  on 
Aristoph.  Plut.  1097  (preserved  only  in  Diibner's  9)  states:  KOTrret  rts  ttjv 
Bxjpav,  oTav  e^o)d€v  Kpovrj'  \f/o4>el,  orav  eacodev.  A  strict  grammatical  construc- 
tion of  these  words  would  require  that  the  same  verb  be  suppHed  with  the 
second  clause  as  with  the  first,  viz.:  orav  e^oidev  Kpovy  and  orav  Icrosdev  (kpov^). 
The  same  is  true  of  the  schoUum  ad  Nub.  132,  repeated  in  Suidas,  s.  v. 
KOWTtt}'.  TapaTTjprjTeov  8e  otl  ctti  jiev  to)v  e^oidev  KpovbvTOiv  'KOirreLv'  XeYcrat,  kwl  8k 
TOiv  eacodev  *\po<f>€lv'.  t/cai'cos  8e  StecrretXe  M.€vav8pos,  kirl  fiev  tcov  e^co,  Koxpo)  ri]v 
dvpav^^  eiTTOiv,  eirl  8e  tojv  eo-co  e\l/6<j)r]Ke  rrjv  dvpav  (rts)  e^tcoj^."  Here  Kpovovroov 
would  naturally  be  supplied  in  the  second  clause  of  the  first  sentence,  viz.: 
€7rt  fxev  TOiv  e^codev  KpovovTcov  and  kwl  8e  tCov  ecoiSev  (kpovovtccv)  . 

The  illustration  of  \l/o<t)elv  which  this  note  gives  is  noteworthy.  No 
mention  is  made  of  the  intransitive  use,  17  dvpa  \l/o<f)€l,  but  only  of  the  transi- 
tive use,  which  we  find  only  in  Menander.  It  was  this  transitive,  or  rather, 
as  we  should  say,  causative,  use  that  brought  out  the  interpretation  of  inten- 
tional knocking.  The  alternative  meaning,  ''caused  the  door  to  creak  by 
opening  it,"  is  ignored;  but  it  appears  in  another  set  of  notes,  to  be  discussed 
later. 

The  idea  of  intentional  knocking  may  possibly  be  conveyed  by  Donatus' 
note  to  Terence  Ad.  788:  quisnam  a  me  pepulit  tam  graviter  fores?  "Tam 
graviter  quia  irati  omnia  concita  faciunt.  cum  pulsandae  fores  exituro  foras, 
Demea  sic  eas  pulsavit,  ut  et  his  ipsis  irasci  videretur."  In  explaining  the 
partifcular  instance,  pepulit  tam  graviter  fores,  Donatus  makes  the  general  re- 
mark pulsandae  fores  exituro  foras.  At  first  view,  this  seems  in' harmony  with 
the  last  two  scholia  to  Aristophanes  which  we  have  quoted  and  with  Plutarch 
and  Helladius.  These  four  or  five  passages  have  furnished  the  warrant  for 
the  belief  of  some  modern  scholars^^  that  \po4)elv  and  its  Latin  equivalent 

Dionysius  of  Halicarnassus,  PUny  the  Elder,  and  Asconius,  who  also  mention  the  ex 
ceptional  honor  shown  to  Poblicola,  do  not  indulge  in  a  learned  excursus  upon  the  Greek 
private  home. 

'^  See,  for  example,  Ernesti  on  Mil.  11,  i.  76  (quoting  Muretus);  Stallbaum  on 
And.  iv.i.  58  (1.  682);  Sloman  on  Phor.  1.  840;  Parry  on  And.  iv.i.  58  (1.  682);  West 
on  Heaut.  1.  173;  Crowell  on  And.  682. 


28  HOUSE-DOOR  ON  THE  ANCIENT  STAGE 

crepare-concrepare,  as  well  as  pellere,  connoted  a  noise  made  intentionally  by 
persons  about  to  enter  the  street  from  the  house,  as  contrasted  with  the  view 
of  others,'^  that  the  noise  indicated  by  these  words  was  made  incidentally  by 
the  door  itself  when  opened  and  that  these  words  had  acquired  a  special 
meaning  in  this  connection. 

Another  set  of  notes,  to  which  we  have  referred,  deals  exclusively  with 
the  same  transitive  meaning  of  ypo4>tlv.  But  they  either  (1)  simply  set  \po<f>€lv 
in  contrast  with  KoirTav  from  the  point  of  view  of  the  agent,  without  any 
suggestion  that  an  intentional  noise  is  made  by  the"  outcoming  person,  or 
else  (2)  they  make  it  clear  that  the  noise  is  incidental  to  the  opening  of  the 
door.  We  give  the  notes  in  this  order:  (1)  Schol.  ad  Luc.  Pseudosophistes 
9:  \l/o<i)olT[i :  KOTTTeL  ixiv  yap  rriv  Bvpav  tls  ccrcos  e^o),  \po(f>d  5^  6  eco).  Thos. 
Magister,  s.  v.  /c6xra):  KdirTei  Trjv  dvpav  e^o)dev  /cat  yeverai  ttjs  dvpas  'ApL(TTO<f)avrjs 
h  N€<^eXats:  '  rls  tad'  6  KcnJ/as  Trjv  dvpav;''  /cat  TraXti'  {h  r^J  avrco)  ^'yevaaL 
TTJs  dvpas^  \po<i>d  jikvTOL  tvhodev,  ov  Kporel.  Moeris,  s.  v.  kotttcj:  /coTrret  T-qv 
dvpav  e^ojdev,  \po<f>el  8^  6  evdoOev,  'Arrt/ccos.  Kporel  dk  'EXXr/i/t/ccos.  (2)  Schol.  ad 
Aristoph.  Plut.  1097  (preserved  in  two  of  the  MSS.,  Dubner's  F  and  B): 
6  K6\f/as:  6  Kpovaas.  kottthv,  \J/o<f)elv,  /cat  KKav(nq.v  t7]v  Bvpav  bia<f>kpei'  k6tt€lv  fiev 
yap  XkyeraL,  orav  elaikvaL  tls  p-eWiJ,  Kal  Trjv  dvpav  e^codev  Tr\r}TTri-  cos  to,  'Vts 
iffd'  6  Koypas  T-qv  dvpav]''  \l/o<t)elv  5e,  oTav  e^epxofJ-evos  rts  avTtjv  VTavolyjj  Kal  rixov 
TLva  ciTroreX^.  6  tolovtos  yap  rjxos  fj  TpL<jpx>s  Wav(nq.v'  \kyeTaLP  It  is  implied 
in  the  words  viravolyQ  Kal  rixov  Tiva  airoTeK^  that  the  ijxos  rts,  the  \f/6<l)os  con- 
noted by  the  verb  \f/o<l)elv,  is  caused,  not  by  any  intentional  blow  on  the  door, 
but  by  the  moving  of  the  door  itself,  just  as  the  movement  caused  by  the 
wind  produces  another  sound,  Tpitriibs,  connoted  by  the  verb  K\av(nq.v, 

Another  passage  to  be  discussed  in  this  connection  is  Lucian's  Pseudo- 
sophistes 9 :  /cat  €t  rts  ye  vvv  \J/o<t>ol'[i  rijv  dvpav  elawv  rj  e^idiv  kotttol,  tI  <f)r)(TopL€v  at 
ireirovdkvaL;  S.  kjik  fUv  ovbkv,  eKelvov  5k  kireLaeXdelv  ^ovXeadai  rj  k^uevaL.  L.  ak  81 
iyvoovvTa  rov  KOirTOvra  rj  \l/o(f)OvvTa  ovbh  oXcos  TreirovdevaL  do^ofiev  airaldevTOV  6vTa; 
From  this  passage  there  may  be  drawn  the  inference  that,  if  the  writer  could 
put  into  the  mouth  of  even  an  ignoramus  such  a  phrase  as  kotttol  T-qv  dvpav  rts 
k^LQjv,  this  very  fact  proves  the  currency,  at  least  among  the  uneducated,  of 
this  incorrect  phrase,  and  that,  if  K&n-TeLv  could  thus  be  substituted,  even  im- 
properly, for  \l/o4>elv,  an  intentional  knocking  is  implied  for  the  latter.  We  be- 
lieve, however,  that  this  would  be  an  incorrect  inference.     In  the  first  place, 

'•  See,  for  example,  Becker,  Charicles  (Eng.  Trans.),  p.  54,  note  32;  Tyrrell,  Mil. 
note  on  I.  154;  Elmer,  P/ior.  note  on  1.  840;  Shuckburgh,  Heaut.  note  on  11.  173  f.; 
Croiset,  Minandre  Varbitrage,  note  on  1.  380;  Ashmore,  note  on  Ad.  264. 

"  V.  and  r.  have  no  note  on  k&kt€iv  here. 


KNOCKING  AT  THE  DOOR  BEFORE  COMING  OUT  OF  HOUSE       29 

no  instance  is  to  be  found  in  Greek  literature,  so  far  as  we  know,  of  this 
barbarous  use  of  kotttuv  for  \l/o4>dv.^^  In  the  second  place  the  author  of  the 
Pseudosophistes  intentionally  selects  preposterous  instances  of  an  illiterate 
man's  deviations  from  correct  usage.  One  of  these  is  the  incorrect  use  of 
KOTTeiv  for  \po4>dv.  UnHke  some  of  the  other  blunders  which  he  instances, 
this  one  never  makes  its  appearance  in  extant  literature. 

GENERAL  MEANING   OF  \l/0(pelv  AND    CREPARE-CONCREPARE 

Before  we  can  ascertain  the  exact  meaning  of  \l/o4)elv  and  crepare-con- 
crepare  when  used  in  connection  with  the  opening  of  the  door,  it  is  necessary 
first  to  learn  their  general  meaning.  The  Greek  passages  quoted  below  dem- 
onstrate the  truth  of  Aristotle's  statement  {De  An.  2.8.11,  2.8.15;  Hist  An. 
4.9.5;  4.9.8)  that  ^o<l>dv  may  in  general  refer  to  an  inarticulate  noise  of 
any  kind.  The  same  is  true  of  crepare-concrepare,  as  one  can  readily  see  from 
the  Latin  passages,  also  quoted  below.  Thus  it  is  obvious  that  \l/o(j>eiv  and 
crepare-concrepare,  so  far  as  their  general  meaning  is  concerned,  may  with 
perfect  propriety  indicate  either  the  noise  of  actual  knocking  or  such  a  sound 
as  would  be  produced  by  the  creaking  of  a  door  or  of  the  grating  of  the  door 
on  the  sill. 

Sophocles:  Frag.  58  (Nauck):  iravTa  yap  tol  raJ  (f)o^ovfJLevc^  \po(f)ei.  Ich- 
neutae  136  if.  {Frag.  Trag.  Papyr.  ed.  Hunt) :  aKovaov  av  tov  xpw^tos  xpovov 
TLva,  I  otw  V7rXa7e^res  kvdab'  e^evlafi^a  \  ypb^oo  tov  ovdels  ttcottot'  ^Kovaev  ^porcov 
(the  sound  of  the  lyre),  and  160  ff.:  el  nrj  'vavoarrjaavres  e^tx^'euo-ere  |  tcls  jSoDs 
oTTXi  ^e^dcTL  Kal  tov  ^ovkoXov,  I  K\alovT€s  avTy  8ei\la  \l/o4>r](TeT€.  Euripides:  Bac. 
638:  \f/oct)eL  yovv  ap^vKrj  dofucv  eo'co.  Orest.  136  f. :  co  ^iXrarat  yvvalKes,  rjcrvxoi 
TTodl  I  x'^P^^T^j  P-V  i^o4>eXT€.  Aristophanes:  Pac.  612:  k\l/6(f)r](Tev  afxireXos.  Ach. 
653:Tv\o3v\f/o(f>ovvTCt)v.  Xenophon, ilna6.4-3-29:  €7r€t5ai^  .  .  .  (T(f>ev86vr]  e^iKVTJTaL 
Kal  aairls  ^o^fj.  Plato:  Rep.  396  B:  TOTafxovs  \f/o(i>ovvT as.  Crat.  430  A:  \f/o(j)elv 
ey<i)y'  av  4>air}v  tov  tolovtov,  ^cLTrjv  avTov  eavTOV  KLVOvvTa  &air€p  av  el  tl  xaX/ceZoi' 
KLvqaeie  Kpovaas.  Strabo  14-21:  cios  5'  6  kci)8cov  6  /cara  ttiv  6\poircc\lav  e\l/6(f)7}(Te 
.  .  .  rjdrj  yap  6  k6}8o3v  e\l/6(f)7}Ke.  Lucian:  Philopseudes  15:  eKelva  fxh  yap  rjv  \f/6(f)ov 
kKovdxi  xctX/cou  fi  (ndripov,  Tre(f)evye — Kal  raura  yap  vfiels  (f>aTe — avTrj  8e,  tjv  apyvpiov 

*°The  phrase  in  Plut.  Poblic.  20,  quoted  above,  ort  k6ttoxxti  Kal  \f/o<t>ov(Tf,  ras  ain-wp 
dvpas  tcoidev  oi  irpoikvai  fieWovres,  cannot  be  instanced  as  a  case  of  the  same  blunder  if 
the  explanation  which  we  have  offered  of  this  notice  is  correct.  The  source  of  Plutarch 
merely  asserts  that  outcoming  actors  "knock,"  but  without  implying  that  a  comic  poet 
or  anybody  else  could  properly  use  Koirretv  instead  of  \po(f>elv  with  reference  to  his  action. 


30  HOUSE-DOOR  ON  THE  ANCIENT  STAGE 

Tov  \l/o(f>if  epx^rai  Tpos  t6p  rixov,  Gallus  29:  l5oi)  ttoKlv  epb4>r]Kk  ns.  ex'  e/xe 
drjXajSrj.  (The  context  shows  that  the  noise  was  made  by  the  spade  of  the 
TOLX(fipvxos.    For  a  similar  case,  see  Plaut.  Aul.  242  f.). 

CREPARE 

Plautus:  Men.  925  f.:  die  mihi,  en  mnquam  intestina  tibi  crepant,  quod 
sentias?  |  ubi  satur  sum,  nulla  crepitant:  quando  esurio,  turn  crepant.  Aul. 
239  ff. :  Euc.  sed  pro  Juppiter,  |  num  ego  disperii?  Meg.  quid  tibist?  Euc. 
quid  crepuit  quasi  ferrum  modo?  I  Meg.  hie  apud  me  hortum  confodere 
iussi.  (Cf.  Lucian's  Gal.  29).  Ovid,  Fasti,  4.742:  et  crepet  in  mediis  lau- 
rus  adusta  focis.  Seneca:  Ep.  9.8:  cum  primum  crepuerit  catena  dis- 
cedit.  Here.  Oet.  1016:  sed  quid  hoc?  tellus  labat  et  aula  tectis  crepuit  ex- 
cussis.  Pliny,  N.H.  36.11.4:  lapidem  in  statua  Memnonis  quotidian©  solis 
ortu  contactum  radiis,  crepare  dicunt.  Martial  3.82.15:  digiti  crepantis 
signa  novit  eunuchus. 

CONCREPARE 

Cicero,  Gael.  27.65:  scabilla  concrepant.  Caesar,  B.G.  7.21:  conclamat 
omnis  multitudo  et  suo  more  armis  concrepat.  Ovid,  Fasti  3.740 :  Aeriferae 
comitum  concrepuere  manus.     Petronius,  27.5:  Trimalchio  digitos  concrepuit. 

MEANING  OF  \J/0(f>eLV  AND  CREPARE-CONCREPARE  WHEN  USED  IN  CONNECTION 

WITH   THE   DOOR 

It  is  the  writer's  belief  that  \l/o(l)elv  and  crepare-concrepare,  when  used 
in  connection  with  the  opening  of  the  door  by  one  coming  from  the  interior 
of  the  house,  do  not  indicate  any  intentional  knocking,  but  that  the  noise 
implied  in  them  is  to  be  ascribed  to  the  grating  or  creaking  sound  produced 
by  the  opening  of  the  door.  The  following  passages  show  that  such  sounds 
were  to  be  expected: 

GREEK 

Aristoph.  Plut.  1097  ff.:  As  etrd*  6  kottccv  tyjv  dvpav;  tovtl  tI  fjv;  \  ovdeh 
loLKiv.  dXXd  br\Ta  t6  Ovpvov  \  (f>deyy6fi€vov  dXXcos  icXauo-t^L.  Hermes,  having 
knocked  on  the  door,  immediately  concealed  himself.  Carlo  opened  the 
door,  and  seeing  no  one  concluded  that  the  door  made  the  noise  of  its  own 
accord.  Arist.  De  Aud.  802  b,  41 :  dixoixas  8^  tovto  avfjL^alveL  /cat  irepl  rds  <f>o)va$ 
Kal  Tovs  \f/64>ovs.  <f>avepdv  8'  kaTiv.  iravTes  yap  ol  /Statot  yiyvovTai  aKkrjpol,  KaSaTrep 
Kal  tCjv  KL^iorioiv  Kal  aTpo<f>ko)v,  brav  avolycavTaL  /Staicos,  Kal  tov  x^^^^^^  1^0.1  tov 
avbi]pov. 


KNOCKING  AT  THE  DOOR  BEFORE  COMING  OUT  OF  HOUSE       31 

LATIN 

Plautus:  Cure.  93  f.:  viden?  <ut>  aperiuntur  aedes  f estivissumae :  | 
num  muttit  cardo?  Trin.  1123 :  fores  hae  sonitu  sue  mihi  moram  obiciunt  in- 
commode. Mil.  1377:  sonitum  fecerunt  foris.  Cas.  434:  audio  aperiri  fores. 
Bacch.79S:  audio  aperiri  fores.  Pacuvius,  Dt^Z.  (Ribbeck  1.92.12):  quidnam 
autem  hoc  soniti  est,  quod  strident  foris?  Ennius,  Androm.  Aech.  (Ribbeck 
2.25) :  saeptum  altisono  cardine  templum.  Gracchus,  Pel.  and  Atab.  (Ribbeck 
1.2.30) :  (a)  sonat  impulso  regia  cardo.  (6)  0  grata  cardo  regium  egressum  in- 
dicans.  Vergil:  Cms  222:  marmoreo  aeratus  stridens  in  Umine  cardo.  Aen. 
VI,  573  f . :  turn  demum  horrisono  stridentes  cardine  sacrae  |  panduntur  por- 
tae.  TibuUus,  1.2.9  f.:  ianua  iam  pateas  uni  mihi  victa  querellis,  |  neu  fur- 
tim  verso  cardine  aperta  sones.  Horace,  Sat.  2.6.111  f.:  cum  subito  ingens 
I  valvarum  strepitus  lectis  excussit  utrumque.  Ovid,  Amor.  1.6.49 :  verso  sonu- 
erunt  cardine  postes.  Seneca,  Med.  177:  sed  cuius  ictu  regius  cardo  strepit? 
Servius  ad  Verg.  1 .449  (foribus  cardo  stridebat  aenis) :  stridebat  aenis  ad  sua 
rettuUt  tempora,  cautum  enim  fuerat  proditum  hostibus  a  Tarpeia  virgine 
CapitoHum,  ut  aerei  cardines,  quorum  stridor  posset  aperta  ostia  omnibus 
indicare. 

The  following  passages  show  that  the  creaking  sound  produced  by  the 
opening  of  the  door  might  on  occasion  be  prevented  by  pouring  water  on  the 
hinges  or  by  opening  the  door  with  care. 

GREEK 

Aristoph.  Thesm.  487  f. :  eyco  de  /caraxeao-a  rod  (TTpocjykojs  vScop  \  k^TJXdov  o)s 
Tov  iJLOLxov.  In  this  passage  a  woman  tells  how  she  outwitted  her  husband 
one  night  and  slipped  out  of  her  house  to  meet  her  paramour.  To  accom- 
pHsh  her  purpose  more  easily,  she  'Vet  the  huige,  to  still  its  creaking 
noise."  Lucian,  Dial.  Mer.  12:  ovk  eKoiJ/a  5'  ovv,  dW  ewdpas  rjpkfia  ttjv  dvpav 
.  .   .  irapaydiv  tov  arpocfyea  irapriXdov  CL\l/0(j)r]TL 

LATIN 

Plautus:  Cure.  158:  placide  egredere  et  sonitum  prohibe  forium  et  crepi- 
tum  cardinum.  1.  160:  Mane,  suffundam  aquolam.  Baech.  833:  Forem 
hanc  pauxillum  aperi:  placide,  ne  crepa. 

So  far  in  this  chapter  we  have  shown  (1)  that  \J/o<f)elv  and  erepare-eon- 
crepare  may  refer  to  an  inarticulate  noise  of  any  kind  and  (2)  that  it  was  a  mat- 
ter of  course  that  the  door,  when  opened,  made  a  grating  sound,  unless  special 


32  HOUSE-DOOR  ON  THE  ANCIENT  STAGE 

precautions  were  taken.  We  are  now  in  a  position  to  discuss  the  specialized 
meaning  of  these  words  when  used  of  the  door,  and  we  shall  first  treat  those 
passages  in  which  they  are  employed  in  connection  with  the  entrance  of  a 
person  into  the  house. 

}l/0<f)€lv 

Euripides,  Here.  Fur.  77  f . :  davfxa^ciiv  8'  orav  \  TruXat  \l/o(l>ooaL,  irds  aviaTriaLV 
TToda,  I  cos  TTpos  irarpi^ov  TrpoairecroviJLevoL  yovv.  In  this  passage  Megara  relates 
how  she  and  her  children  sat  in  the  women's  apartments,  and  awaited  Hera- 
cles' return.  She  says  that,  whenever  they  heard  a  noise  at  the  door  as  of 
some  one  coming  in  or  going  out,  they  thought  that  it  was  Heracles  return- 
ing home.  The  fact  that  \l/o<f)€lv  is  used  intransitively  in  this  passage  and 
the  unlikelihood  of  Heracles  knocking  on  his  own  door  go  to  show  that  the 
noise  indicated  by  ^o<^€tj/  is  the  grating  sound  made  by  the  door  when 
opened. 

Euripides,  Iph.  Taur.  1037  f.:  rls  ayL4>l  Schfia  ded^  t68'  Urriffiv  ^otjv,  \  TruXas 
Apa^as  Kal  \f/6(f>ov  irefixl/as  e<Tco ;  The  messenger  calls  to  Thoas  to  come  out  of  the 
temple.  The  noise  \l/6(f>os  is  due  to  the  vigorous  hammering  given  the  doors 
by  the  messenger. 

Aristophanes,  Av.  53  ff.:  Eu.  elaofieda  8'  avriK,  rjv  TroLr](T(afiev  \f/6<}>ov.  \  Peith. 
AXX'  olad'  6  8pd(Tov;  rco  (r/ceXet  deve  Trjv  Trkrpav.  |  Eu.  av  8k  rfi  K€<l)a\'p  y',  tv'  fj 
8L7r\daLos  6  4/6<f>os.  \  Peith.  <tv  8'  ovv  \Wu)  Koypov  Xa^dcv.  This  is  a  case  of  actual 
knocking,  with  a  hint  that  Peithetaerus'  head  is  hollow  and  will  contribute 
to  the  \l/6<t>os. 

Heliodorus,  1-17:  "exw  <7€,"  elwev,  "o)  deols  exOpa.''  Kal  rj  eia^r}  irapa- 
XPW^)  ravra  Xkyovros,  rds  re  Ovpas  cos  otl  TrXelcTTOV  €\l/6<l)r]K€,  Kal  "&  ttJs  aToirlas, 
8La8e8paKev  fifids  6  plolxos,"  ave^&qatv.  Thisbe  remains  at  the  street-door,  and, 
when  she  hears  her  master  cry  out  in  the  bed-chamber,  causes  the  door  to 
grate  or  make  a  noise  as  if  violently  opened  for  the  escape  of  the  supposed 
adulterer. 

Heliodorus,  3-16:  GDttco  5^  iftiepas  olkpl^ois  viro<f>aLVovcrr)s,  k)l/6(f>€L  re  if  /ierauXos, 
Kal  TLVos  ^addnrjv  KaXovvros  6  TraL8iov.  epofxhov  8k  tov  virrjpkTov  rts  6  k&tttccv  Trjv  Bvpav 
rj  Kara  irolav  rriv  xpc^ai',  '*d7rd77cXXe,"  direv  6  Ka\(bp,  "on  Qeayevrjs  6  9€rraX6s." 
i^adriv  6LTrayyt\BkvTa  /tot  t6v  veavlav,  Kal  daKoKdv  heXevov.  Theagenes  both 
knocked  and  called  for  admission,  and  the  noise  made  by  the  knocking  was 
denoted  by  \l/o<f>€lv. 

C.  7.  G.  III.  5194b:  dXX'  k4/b4>riKt  f>bTra\ov.  \  ii  Ovpa  irpoKarkxirai.  Kpoverai 
abrbi.  This  inscription,  found  at  Cyrene,  is  given  as  emended  by  the  edi- 
tor, who  gives  us  this  information:  in  necropoli  in  pariete  antri  inter  pic- 


KNOCKING  AT  THE  DOOR  BEFORE  COMING  OUT  OF  HOUSE       33 

turas  insigni  arte  factas;  repraesentatio  videretur  ad  ludos  pertinere.     We 
have  a  case  of  actual  knocking  in  \l/o<l)elv,  done  with  the  poToXov, 

CREPARE 

Plautus,  Bacch.  833 :  forem  hanc  pauxillum  aperi :  placide,  ne  crepa.  The 
speaker,  who  is  outside  the  house,  wishes  to  give  his  companion  a  view  of  the 
interior.  Since  the  utmost  caution  is  taken  to  open  the  door  without  making 
a  noise,  crepare  can  only  refer  to  the  creaking  usually,  made  by  the  door  when 
opened.^^ 

Let  us  now  consider  those  passages  in  which  \l/o(pelv-\p6<l)os  and  cre~ 
vare-concrepare  occur  in  connection  with  the  opening  of  the  door  by  persons 
coming  out  of  the  house. 

Lysias,  1-14  and  17:  epojikvov  5'  e/zoD  rl  at  dvpau  vvKTcop  ypoipdlev  .  .  .  ctj^a- 
fXLp.vrjaK6fJLevos  de  otl  ev  eKelvrj  rrj  vvktl  e\p6(l)eL  rj  iieravKos  dvpa  /cat  17  avXeios.  It 
was  to  the  interest  of  the  person  who  left  the  house  during  the  night  to  do  so 
as  secretly  and  quietly  as  possible.  Hence,  \f/o4>elv  can  only  refer  to  the  creak- 
ing sound  made  by  opening  the  door. 

Aristophanes,  Ran.  603  f. :  cos  aKovoj  \  ttjs  dvpas  koI  di]  \l/6(f>ov.  Xanthias- 
Heracles  braces  himself  for  the  test  which  will  take  place  when  the  dvpoipos 
comes  out  of  the  house.  If  there  were  any  evidence  in  this  passage  or  the  con- 
text that  the  door-keeper  gave  intentional  warning  of  his  coming  by  knocking 
or  otherwise,  such  a  noise  would  properly  be  referred  to  by  \l/6(f)os.  But 
there  is  nothing  to  indicate  such  a  warning  noise,  and  indeed  it  was  to  the  in- 
terest of  the  door-keeper  to  come  out  upon  the  intruders  suddenly.  On  the 
other  hand,  it  is  equally  true'  that  the  passage,  taken  alone,  cannot  be  said 
to  prove  that  there  was  no  intentional  knocking.  In  view  of  the  fact  however, 
that  there  is  no  evidence  in  any  other  passage  to  support  the  doctrine  that 
actors,  about  to  issue  from  the  house,  gave  an  intentional  knock  before  open- 
ing the  door,  it  is  more  reasonable  to  interpret  ^60os  in  this  passage  as  we 
were  required  to  interpret  xf/ocfyelv  in  the  two  passages  from  Lysias. 

That  this  is  the  correct  interpretation  seems  obvious  from  a  passage  in 
Aristophanes,  Vesp.  142  f.:  Bd.  ai'a^  UocreLdov,  rl  tot  ap'  ri  Kairvr]  \po4>d',  \  ovtos 
tIs  el  (TV]  Phil.  Ka-Kvbs  eyoiy'  e^epxofJLat.  Bdelycleon,  Sosias,  and  Xanthias  are 
on  the  scene  and  are  trying  to  keep  Philocleon  from  getting  out  of  the  house, 
while  the  latter  is  endeavoring  by  any  and  every  means  to  elude  them.  Bdely- 
cleon's  attention  is  drawn  to  the  chimney  by  a  rumbling  sound  he  hears  there, 
and  he  sees  Philocleon  issuing  from  the  opening.     We  cannot  possibly  assume 

^^  Concrepare  is  not  found  thus  used. 


34  HOUSE-DOOR   ON  THE  ANCIENT  STAGE 

that  the  noise  made  by  Philocleon  in  the  chimney  was  intentional;  and  yet 
the  phrase  ii  kcltpt)  \f/o4>€l  is  apparently  in  every  respect  a  comic  parallel  to 
the  phrase  commonly  used  for  announcing  the  entrance  of  a  person  from  the 
house,  1^  dvpa  }f/o<f>€l.  Therefore,  when  only  this  phrase,  or  its  equivalent,  is 
used,  we  are  bound  to  interpret  it  in  the  same  way. 

Menander:  Sam.  222:  dXV  "AiroWov,  ii  dvpa  t6l\lv  \po<l>€l.  Per.  426:  ttjv 
Bhpav  <\l/o4>el  or  \po4>dv> .  Sam.  324:  e\l/6<f>r}Ke  TpoMP  Trjv  dvpav.  Per.  126: 
AXXA  riiv  dvpav  \f/o4>€l  tls  k^MV.  Epitr.  454:  riip  Ovpav'rwv  yuTovoiv  tls  b}/6<i)y]Kev 
k^uov.  It  is  to  be  noted  that  in  the  first  of  the  passages  just  quoted  from 
Menander  and  possibly  in  the  second  also,  \l/o<f)elv  is  used  as  an  intransitive 
verb;  in  such  cases  there  can  be  no  question  of  any  noise  like  intentional 
knocking.  Now,  if  the  intransitive  \l/o<f>€iv  indicates  nothing  more  than  the 
creaking  of  the  door,  it  is  reasonable  to  assume  that  the  same  is  true  of  the 
transitive  use,  the  more  so,  inasmuch  as  in  no  instance  of  the  transitive  use, 
or  in  any  other  phrase  equivalent  to  transitive  yj/cxjielv,  is  there  any  evidence 
that  the  person,  who  opened  the  door,  thus  causing  it  to  creak,  made  any 
intentional  noise.  In  some  cases,  as  we  have  seen,  he  could  avoid  making  the 
door  creak;  generally  he  was  indifferent  to  the  noise  incidental  to  the  opening 
of  the  door. 

In  connection  with  this  discussion  of  \t/o<i)elv,  four  other  passages  may  be 
cited,  in  which,  though  the  specific  word  xf/ocfyeiv  is  not  used,  persons  in  front 
of  the  house  infer  from  a  noise  that  others  are  about  to  come  out  of  the 
house.  Sophocles,  Elec.  1322  f.:  (nydv  kirxivea.*  cbs  €x'  e^oScfj  kXuco  |  T(hv  evbo- 
6ev  x^J^PovvTos.  Euripides:  Hel.  858  f. :  eK^alvet  dojjwv  \  ri  decrTLcodos  Qeovorj. 
KTVirel  dofjLos  \  K\fidpo)v'\vdkvT(av.  Orest.  1366  f . :  dXXd  KTVirel  yap  KKfjdpa  ^aaiXiKcov 
bbpMv,  I  cruyqaaT.'  e^cu  yap  tls  eK^alvei  ^pvycov.^^  Ion.  515  f . :  cos  8'  kir'  k^bboKXiv 
6vTos  T0)v8'  CLKOvonev  TTvXcov  I  dovirov,  k^lovTa  t  ^8rj  decrwoTTjv  bpav  irapa.  In  the 
first  passage  the  noise  is  caused  by  the  door  or  by  the  person  at  the  door, 
in  the  second  and  third  by  the  drawing  of  the  bolts  of  the  door,  and  in  the 
fourth  by  the  door  itself. 

CREPARE-CONCREPARE 

The  use  of  crepare^  and  concrepare*^  in  connection  with  the  opening  of 
the  door  by  someone  on  the  inside  is  confined  to  Plautus  and  Terence,  and  in 
their  plays  we  find  only  twenty-eight  instances. 

**  Although  this  is  an  actor's  interpolation  (see  Schol.  ad  loc),  it  gives  evidence  of 
the  practice  of  the  date  of  the  interpolation. 

"  Donatus  in  his  commentary  on  Terence,  Hec.  521,  makes  this  distinction  between 
them:  "  'Concrepuit'  plus  quam  'crepuit,'  nam,  'con'  modo  auctivum  est." 


KNOCKING  AT  THE  DOOR  BEFORE  COMING  OUT  OF  HOUSE       35 

It  is  the  testimony  of  Donatus  (ad  Ter.  Ad.  264:  quidnam  foris  crepuit?) 
that  crepare  refers  to  the  noise  made  by  the  door:  "  'crepuit'  acre  sonuit." 
Plautus  (Poen.  609  f.)  gives  explicit  evidence  to  the  same  effect:  Co.  fores 
hae  fecerunt  magnum  flagitium  modo.  Adv.  quid  <id>  est  flagiti?  Co. 
crepuerunt  dare. 

References  in  the  plays  to  the  noise  indicated  by  crepare-concrepare  are 
usually  of  the  colorless  type  such  as  Ad.  264,  on  which  Donatus  makes  his 
comment.  It  is  safe  to  assume,  we  think,  that  his  interpretation  is  equally 
true  of  all  other  instances  in  the  Roman  drama.  In  employing  the  word 
sonuit,  Donatus  did  not,  in  our  opinion,  mean  to  imply  knocking  or  any  inten- 
tional noise,  but  only  the  sonitus  forium  or  the  crepitus  cardinum  referred  to  in 
Plant.  Cure.  156  ff.:  sentio  sonitum:  |  tandem  edepol  mihi  morigeri  pessuli 
fiunt.  I  placide  egredere  et  sonitum  prohibe  forium  et  crepitum  cardinum.  II. 
230  f.:  nam  sonitum  et  crepitum  claustrorum  audio,  |  aedituum  aperire 
fanum. 

The  same  word  sonitus  occurs  in  the  same  connection  in  two  other  passages 
and  is  to  be  interpreted  in  the  same  way:  Plant.  Trin.  1124:  sed  fores  hae  son- 
itu  suo  mihi  moram  obiciunt  inconmiode;  Pacuvius,  Dul.  (Ribbeck  1.92.12): 
quidnam  autem  hoc  soniti  est,  quod  strident  foris? 

The  word  postes  in  Seneca's  Oedipus  (1.  911 :  sed  quid  hoc?  postes  sonant.) 
is  sufficient  evidence  that  the  noise  implied  in  sonant  is  not  to  be  attributed  to 
any  intentional  knocking.  Knocking  is,  therefore,  not  implied  in  another 
passage  from  the  same  play:  1.  995:  sonuere  fores.  Accordingly,  the  same 
words  in  the  same  author's  Here.  Oet.  (1.  254)  are  not  to  be  interpreted  as  in- 
dicating an  intentional  knock.  Is  not  the  evidence  that  we  have  just  pre- 
sented sufficient  to  justify  our  assertion  that  sonare-sonere  is  to  be  thus  inter- 
preted in  the  following  parallel  instances  from  the  Roman  drama? :  Gracchus, 
Pel.  (Ribbeck  1.230):  sonat  impulso  regia  cardo.  Attius,  Neop.  (Ribbeck 
1.196.6):  atque  adeo  valvas  sonere  sensi  regias.  Attius,  Clytem.  (Ribbeck 
1.139.1):  sed  valvae  resonunt  regiae.  Pacuvius,  Iliona  (Ribbeck  1.102.15): 
valvae  sonunt? 

The  other  passages,  in  which  crepare  and  concrepare  occur,  are  cited  be- 
low, in  order  that  the  reader  may  have  them  at  his  convenience.  It  is  our 
claim  that  they  must  be  interpreted  as  referring  to  no  other  noise  than  that 
necessarily  made  by  the  door  when  opened.  Our  justification  of  this  claim 
is  based  (1)  upon  the  fact  that  conclusive  testimony  has  been  presented  to 
show  that  several  of  the  passages  admit  of  no  other  interpretation,  (2)  upon 
Donatus'  statement  (ad  Ter.  Ad.  264)  that  crepare  with  foris  as  subject  is  the 
equivalent  of  sonare,  which,  as  has  been  shown,  does  not  imply  any  knocking. 


36  HOUSE-DOOR  ON  THE  ANCIENT  STAGE 

and  (3)  upon  the  fact  that  no  one  of  the  passages  affords  any  evidence  to  sup- 
port the  theory  that  there  was  intentional  knocking. 

Plautus:  Mil.  154:  sed  foris  concrepuit  hinc  a  vicino  sene.  Mil.  270: 
sed  fores  crepuerunt  nostrae.  Mil.  328:  sed  fores  (con)crepuerunt  nostrae. 
Mil.  410:  sed  fores  vicini  proxumi  crepuerunt.  Men.  348:  nam  concrepuit 
ostium.  Men.  523:  sed  concrepuit  ostium.  Pers.  404:  sed  ibi  concrepuit 
foris.  Poen.  741 :  nam  crepuerunt  fores.  Cure.  486:  sed  interim  fores  crepu- 
ere.  Ps.  129:  ostium  lenonis  crepuit.  Amph.  496:  crepuit  foris.  Most. 
1062:  sed  quid  hoc  quod  foris  concrepuit  proxuma  vicinia?  Bacch.  234:  sed 
foris  concrepuit  nostra.  Bacch.  610:  nam  concrepuerunt  fores.  Bacch. 
1057:  sed  crepuit  foris.  Cas.  162:  sed  foris  concrepuit.  Cas.  813:  sed  crepuit 
ostium.  Cas.  874:  vostra  foris  crepuit.  Cas.  936:  sed  concrepuerunt  fores. 
Terence:  And.  682:  crepuit  a  Glycerio  ostium.  Eun.  1029:  sed  fores  crepu- 
erent  ab  ea.  Heaut.  173:  sed  quid  crepuerunt  fores  hinc  a  me?  Heaut.  613: 
quid  est  quod  tam  a  nobis  graviter  crepuerunt  fores?  Hec.  520 :  sed  ostium 
concrepuit.     Phor.  840 :  sed  ostium  concrepuit  abs  te. 

That  we  are  right  in  interpreting  crepare  and  concrepare  as  indicating  no 
knocking  whatever  is  made  all  the  more  probable  by  the  fourteen  passages  in 
which  the  opening  of  the  stage-door  is  indicated  by  some  form  of  aperire. 
This  verb  means  nothing  more  than  "to  open"  and  in  no  one  of  the  fourteen 
passages  is  there  the  slightest  indication  of  knocking.  On  the  contrary,  there 
is  direct  evidence  in  the  fourteenth  passage  that  such  an  interpretation  would 
be  absurd. 

Plautus:  Men.  108:  sed  aperitur  ostium.  Merc.  699:  aperitur  foris. 
Mil.  528:  aperitur  foris.  Mil.  985:  aperi(un)tur  foris.  Mil.  1198:  ecce 
autem  commodum  aperitur  foris.  Pers.  80:  sed  aperiuntur  aedes.  Pers. 
300:  foris  aperit.  Bacch.  798:  nam  audio  aperiri  fores.  Cas.  434:  audio 
aperiri  fores.  Cas.  779:  sed  aperitur  ostium.  Amph.  955:  atque  aperiun- 
tur aedes.  Trin.  400 :  sed  aperiuntur  aedes  quo  ibam.  Cure.  21 :  quom  aperi- 
tur. Cure.  83  f.:  viden?  <ut>  aperiuntur  aedes  f estivissumae :  num 
muttit  cardo? 

We  may  give,  for  the  sake  of  completeness,  two  similar  passages :  Plant. 
Ps.  952:  st,  tace:  aedes  hiscunt.  Laberius,  Taur.  (Ribbeck  2.293):  hie- 
tantur  fores. 

As  we  have  stated,  no  one  of  these  words  for  ''opening"  suggests  a  noise 
of  any  kind.  And  yet  it  is  probable  that,  in  the  practice  of  the  stage,  the  out- 
coming  actor  in  opening  the  door  caused  it  to  creak  or  grate,  and  this  noise, 
quite  incidental  to  the  opening  of  the  door,  furnished  a  useful  ''cue"  to  the  ac- 
tors already  on  the  stage  that  another  character  was  about  to  come  from  the 


KNOCKING  AT  THE  DOOR  BEFORE  COMING  OUT  OF  HOUSE       37 

house.  This  explanation  accounts  for  all  instances  of  the  Menandrian  ex- 
pression rj  dupa  \po(f)€l  and  for  most  cases  of  crepare-concrepare  and  their 
variants.  In  some  instances'^  these  words  are  used  as  a  "cue"  for  silence, 
but  this  is  in  reality  only  another  way  of  showing  that  the  conversation,  as  re- 
quired by  the  plot,  must  cease  and  that  another  actor  must  make  his  appear- 
ance and  is  about  to  do  so. 

Two  passages  (Most.  505  ff.,  Mil.  328)  call  for  special  comment.  The 
former,  to  be  discussed  more  fully  later  (pp.  40  f.),  is  employed  as  a  means 
of  carrying  out  the  plot  of  the  play.  Tranio  must  thoroughly  dupe  and 
frighten  Theopropides.  To  convince  him  completely  that  there  is  a  ghost  in 
the  house,  Tranio  pretends  to  believe  that  the  ghost  is  coming  out  and  says: 
'^concrepuit  foris."  In  the  second  passage  (con)  crepare  also  serves  the  poet 
as  a  device  of  carrying  out  the  plot.  Sceledrus  has  seen  Philocomasium  in 
Periplecomenus'  house,  but  Palaestrio  is  trying  to  make  him  believe  that  he  is 
mistaken  in  this  and  that  the  woman  is  in  the  Captain's  house.  By  a  secret 
passage  she  has  in  reality  passed  over  to  the  Captain's  house  and  causes 
the  door  to  make  a  noise  so  as  to  assist  Palaestrio  in  duping  Sceledrus. 

Let  us  now  summarize  our  conclusions  as  to  ypo(i>dv-^b<i)os  and  crepare- 
concrepare  when  used  in  connection  with  the  stage-door.  (1)  In  the  drama 
\po4>€lv  occurs  but  once  (Eur.  Here.  Fur.  78)  in  connection  with  leaving  the 
scene  and  going  into  the  house,  and  here  it  most  likely  refers  to  the  creaking 
of  the  door.  Thus  used,  ypb^os  occurs  in  the  drama  twice  (Eur.  Iph.  Taur. 
1037  f.:  Aristoph.  Av.  53  ff.)  and  in  both  cases  refers  to  actual  knocking. 
The  very  rare  use  of  \l/o(f)€lv  in  this  connection  is  due  to  the  fact  that  there 
is  no  occasion  to  call  attention  to  the  noise  made  by  the  door  when  an  actor 
goes  from  the  scene  into  the  house.  The  only  instance  of  crepare  (concrepare 
does  not  occur)  thus  used  refers  to  the  grating  sound  made  by  opening  the 
door.  (2)  In  connection  with  exits  from  the  house  upon  the  scene  \l/o(t)elv- 
\f/6<f)os  and  crepare-concrepare  refer  merely  to  the  creaking  produced  by  the 
door,  the  hinges  (pivots) ,  and  the  door-fastenings.  Were  there  any  evidence 
for  intentional  knocking  in  this  connection,  these  words  could  of  course  indi- 
cate such  a  noise.  Of  the  dramatic  writers,  only  Menander  employs  \f/o(f)€lv 
in  connection  with  exits  from,  the  house.  That  Aristophanes  was  acquainted 
with  this  use  of  \l/o4>elv  is  obvious  from  17  Kairvr]  \po(i){i  {Vesp.  143) 

The  word  ypoi^tlv  also  occurs  in  connection  with  the  opening  of  the  door 
to  the  private  house.  When  thus  used  in  exits  from  the  house,  it  indicates 
only  the  noise  incidental  to  the  opening  of  the  door  (Lysias,  1.14  and  17). 

44  E.g.  Mil.  270  f .,  Men.  34  f .,  Poen.  609  f .,  741  f .,  Cure.  486,  Ps.  129,  951,  Bacch. 
1057  £.,  Cas.  814. 


38  HOUSE-DOOR  ON  THE  ANCIENT  STAGE 

Occurring  in  connection  with  entrances  into  the  house,  ypo4>€iv  may  denote 
actual  knocking  (Heliodorus,  1.17,  3.16;  C.  I.  G,  iii.  5194  b). 

There  are  other  passages  in  the  classical  drama  which  seem  to  imply  knock- 
ing even  more  than  those  in  which  ypo<f>tlv  and  crepare-concrepare  occur.  But 
a  careful  study  of  them  shows  conclusively,  we  think,  that  they  are  not  to 
be  so  interpreted  and  that  the  noise  implied  in  them  is  due  to  another  cause. 

Four  of  the  passages  are  found  in  Menander:'*^  dXXd  tyjv  dvpav  irpouhv 
irkir\rjx^  (Sam.  85  f.);  ttiv  dvpav  TreirXrix^  (Sam.  151  f.);  TewXrjx^  TrjV  dvpav  (Sam. 
210);  Tijv  Bvpav  Tr^TXr^x^v  (Epitr.  485).*^  In  the  first  passage  it  is  obvious 
that  Parmenon  was  in  a  perturbed  state  of  mind.  His  master  had  ordered 
him,  in  an  ominous  tone  of  voice,  to  go  into  the  house  and  return  at  once. 
Parmenon  makes  a  great  show  of  hurrying,  seeing  that  his  master  is  angry 
about  something,  and  rushes  out  of  the  house  with  a  good  deal  of  unnecessary 
noise.  The  context  of  the  second  passage  shows  that  Demeas  rushed  out  of 
the  house  with  great  violence,  as  a  moment  before  he  had  rushed  in  like  a 
madman  (1.  146).  The  same  is  true  of  the  other  passages,  for  the  context  of 
each  makes  it  clear  that  Niceratus  in  the  third  and  Charisius  in  the  fourth 
came  on  the  stage  violently  agitated. 

Under  such  circumstances  as  have  been  described,  it  seems  unreasonable 
to  suppose  that  there  could  have  been  any  intentional  knocking.  That  there 
was  none  is  made  all  the  more  probable  (1)  by  the  fact  that  tKyittq)  is  not  one 
of  the  ordinary  verbs  for  knocking  and  (2)  by  the  use  of  the  perfect  tense 
which  implies  a  single  blow. 

How  then  are  we  to  interpret  TeirXrjxe  in  these  Menandrian  passages? 
In  all  likelihood,  it  means  something  like  oidelv  in  Euripides'  Orestes  (1.  1562), 
only  the  doors  in  Menander  are  light  house-doors,  not  heavy  temple  or  palace 
doors.  The  actor  shoves  the  door  open  with  his  hand  stretched  out  before 
him.  Hence  it  seems  unquestionable  that  the  noise  implied  in  ireTXrixe  in  these 
passages  from  Menander  was  due,  not  to  any  intentional  knocking,  but  to 
the  actor's  violent  impact  against  the  door  as  he  rushed  from  the  house  upon 

*'  The  lines  are  cited  from  Koerte's  Menandrea,  ed.  2. 

*"  That  there  is  a  diversity  of  opinion  as  to  the  correct  interpretation  of  irkTrXrixe 
is  exemplified  in  these  comments:  Van  Leeuwen,  ad  Epitr.  427:  "Dicitur  nunc  Trkirkrjx^ 
ut  k4^6<t>riK€,  de  exeuntibus;  Kowreip  vero  et  7ral«v  est  intrare  cupientium."  Croiset, 
Menandre  I'arbitrage,  note  on  I.  411:  "Ne  pas  confondre  avec  bp6<t>r}K€  (I.  380). 
TliTrXrjxe  marque  un  mouvement  violent."  1.  380:  "Le  mot  \po<t>elv  ne  parait  pas  dfeigner 
un  coup,  mais  plutot  le  bruit  du  verron  que  Ton  tire  ou  de  la  clef  dans  la  serrure." 
Bodin  et  Mazon,  Extraits  d'Aristophane  et  de  Menandre,  p.  324,  note  on  Sam.  85 
(ir«7rX77xe) :  "Les  portes  s'ouvrant  le  plus  souvent  au  dehors,  on  frappait  avant  de 
sortir,  pour  avertir  les  passants  (irX^reiv  ou  \po<f)tlp)." 


KNOCKING  AT  THE  DOOR  BEFORE  COMING  OUT  OF  HOUSE       39 

the  scene  of  action.  This  interpretation  depends  upon  the  assumption  that 
the  doors  in  question  swing  outwards — sl  topic  to  be  treated  in  the  next 
chapter. 

Another  passage  to  be  discussed  in  this  connection  is  Terence,  Ad.  788:' 
quis  nam  a  me  pepuUt^^  tam  graviter  fores?  and  the  comment  of  Donatus  ad 
loc. :  '^Tam  graviter,  quia  irati  omnia  concita  faciunt.  Cum  pulsandae  fores 
exituro  foras,  Demea  sic  eas  pulsavit,  ut  et  his  ipsis  irasci  videretur."  Don- 
atus seems  to  mean  that,  whereas  ordinarily  a  person  coming  from  the  house 
had  to  pellere  the  door,  in  this  instance  the  angry  Demea  did  so  with  such  vio- 
lence as  to  proclaim  his  anger  to  the  door  itself.  The  difference  between  the 
usual  action  and  Demea's  is  in  the. violence  of  the  latter.  The  word  pellere 
here  means,  we  think,  little  more  than  to  push  or  to  strike  against  with  the 
body.  An  exact  parallel  is  found  in  Tacitus  (Ann.  11.37),  where  the  murder- 
ers of  Messalina  are  described  as  rushing  against  the  door  to  force  their  way 
into  her  room:  cum  impetu  venientium  pulsae  fores.  In  the  same  manner 
the  angry  and  excited  Demea  rushed  against  the  door  as  he  came  in  headlong 
haste  from  the  house  upon  the  scene.  Under  such  circumstances  it  is  scarcely 
conceivable  that  he  did  any  intentional  knocking.  If  Donatus  intended  to 
imply  knocking  in  his  comment,  did  he  not  overlook  the  perfect  tense  in  pe- 
pulit,  which  indicates  a  single  blow,  as  well  as  the  fact  that  pellere  is  not  the 
ordinary  verb  for  knocking?  Terence  certainly  could  (the  meter  allows  it) 
and  very  likely  would  have  used  pultat,  had  he  meant  to  convey  this  idea. 
Indeed,  it  seems  best  to  take  pepulit  as  an  exact  translation  of  wewXi/jxe  in  the 
Greek  original.  According  to  this  interpretation  the  door  in  question  opened 
out  upon  the  street. 

This  interpretation  of  pepulit  is  strengthened  by  a  passage  found  in  Sene- 
ca's Medea  (177  f.) :  sed  cuius  ictu  regius  cardo  strepit?  ipse  est  Pelasgo  tumidus 
imperio  Creo.  That  no  intentional  knocking  is  implied  in  this  passage  is  ob- 
vious from  cardo  strepit.     Ictu  simply  refers  to  the  impact  made  by  Creon 

*^  For  different  interpretations  of  pepulit  see:  Spengel:  "Demea  schlagt  von  in- 
nen  an  die  Thtire,  damit  ihm  ein  Sclave  dieselbe  offnet.  Dies  thut  er  heftig,  weil  in 
Zorn."  Dziatzko:  "Vor  Vollendung  des  Satzes  wird  er  (i.e.  Micio)  durch  das  heftige 
Schlagen  der  Thtire  seines  Hauses  unterbrochen."  Ashmore:  "pepulit:  rarely  used 
of  a  person  coming  out  of  a  house,  but  Demea  is  so  violent  in  his  wrath  that  Micio  may 
well  imagine  the  sounds  he  hears  to  be  made  by  a  person  eagerly  knocking  to  be  ad- 
mitted." Sloman:  "pepulit:  rarely  used  of  a  person  coming  out.  Cf .  264.  The  ancient 
opinion  (i.e.  intentional  knocking)  however  is  suported  by  1.  788  of  this  play."  Phil- 
lips: "Demea,  like  a  person  in  a  passion,  beat  the  door  violently,  as  if  angry  at  it." 
Davies:  "Here,  as  Ruhnken  notes,  pepulit  is  used  in  a  rarer  sense  of  one  coming  out, 
of  which  crepo  or  concrepo  is  more  commonly  used." 


40  HOUSE-DOOR   ON  THE  ANCIENT  STAGE 

putting  his  hand  against  the  door  to  push  it  open.    Since  he  is  coming  out  of 
the  house,  it  is  evident  that  this  door  swung  outwards. 

Further  proof  that  pepulit  in  the  Adelphoe  has  been  correctly  interpreted 
is  furnished  by  a  fragment  from  Gracchus'  Peliades  (Ribbeck  1.230):  sonat 
impulsu  regia  cardo.  Impulsu  is  sufficient  evidence  that  the  noise  indicated 
by  sonat  was  due,  not  to  any  knocking,  but  to  the  actor's  shove  against  the 
door  as  he  passed  from  the  house  upon  the  stage.  (Cf.  Tac.  Ann.  11.37). 
This  interpretation  requires  us  to  assume  that  the  door  opened  out  upon  the 
stage. 

Another  passage  bearing  upon  the  question  under  discussion  is  found  in 
Plautus'  Mostellaria  (505  f.):  Tran.  st,  st!  Theo.  quid  obsecro  hercle  fac- 
tumst?  Tran.  concrepuit  foris:  hicine  percussit?^^  Theopropides  has  been, 
fully  convinced  that  his  house  is  haunted.  Tranio  has  placed  inside  the  house 
his  confidants,  who  are  avidly  listening  to  the  conversation  on  the  outside. 
He  has  succeeded  admirably  in  completely  duping  the  old  gentleman,  who  is 
very  much  excited  and  scarcely  knows  what  he  is  doing  or  what  is  taking 
place.  Having  the  situation  well  in  hand,,  and  realizing  that  Theopropides  is 
in  such  a  condition  as  to  believe  anything,  he  first  says:  ^^st,  st!'^  ''hushing  his 
voice  in  mock  fright,"  as  though  the  ghost  were  making  a  noise  at  the  door. 
Theopropides  becomes  still  more  alarmed  and  his  query  (quid  obsecro  hercle 
factumst?)  convinces  Tranio  that  the  psychological  moment  has  come  for 
the  climax  and  he  says:  ^'concrepuit  foris:  hicine  percussitr'  ''The  door 
creaked.  Was  it  the  ghost  in  there  that  smote  on  it?"  In  other  words, 
Tranio  pretends  to  believe  that  the  ghost  is  coming  out  of  the  house.  The 
ruse  imposes  on  Theopropides,  but  its  success  is  suddenly  threatened  by  an 
actual  noise  inside  the  door,  perhaps  intentionally  made  by  one  of  the  con- 
spirators to  assist  in  tricking  the  old  man.  It  is  now  the  turn  of  Tranio 
to  become  alarmed,  and  he  endeavors  to  silence  the  people  inside  and  to 
get  Theopropides  away  from  the  door  without  arousing  suspicion. 

According  to  this  interpretation,  which  seems  to  me  to  be  the  correct  one, 
there  is  no  intentional  knocking,  but  concrepuit  refers  to  the  noise  that  would 
be  made  by  the  creaking  of  the  door  and  percussit  to  the  impact  that  would 
be  made  against  the  door,  were  the  ghost  really  coming  out.  The  verb  per- 
cussit is  therefore  equivalent  to  pepulit.  But  someone  may  ask:  "Must 
we  not  interpret  per  cuter  e  in  1.  508  as  indicating  actual  knocking  when  the 
same  word  in  the  two  other  lines  (516,  521)  admits  of  no  other  interpreta- 

"  The  proper  assignment  of  parts  in  this  passage  is  a  matter  of  doubt  among  the 
editors.  See  editions  of  Ussing,  Lindsay,  Goetz  and  Schoell,  Fay,  and  Ramsay.  The 
passage  is  given  here  as  found  in  Lorenz'  edition. 


KNOCKING  AT  THE  DOOR  BEFORE  COMING  OUT  OF  HOUSE       41 

tion?"  The  propounder  of  this  query  must  bear  in  mind  (1)  that  Plautua 
purposely  makes  Tranio  use  percutere  in  11.  516  and  521,  since  it  ''carries  an 
uncomfortable  verbal  suggestion  of  the  uncanny  question  (hicine  percussit?) 
in  line  508,"  (Fay's  note),  (2)  that  only  in  these  two  lines  in  the  Roman 
drama  does  percutere  imply  knocking  and  it  very  rarely  in  Latin  literature 
in  general  has  this  meaning  (see  p.  23  f.),  and  (3)  that  the  interpretation  given 
it  in  1.  508  is  in  keeping  with  its  natural  significance. 

We  therefore  conclude  that  \f/o<i)elv,  crepare-concrepare,  and  all  other 
verbs,  which  are  used  in  connection  with  the  opening  of  the  door  by  some 
one  coming  out  of  the  house,  do  not  indicate  any  intentional  knocking.  The 
noise,  as  we  have  shown,  is  due  to  other  causes. 


CHAPTER  IV 

DID   THE   STAGE-DOOR   OPEN   OUTWARDS   OR   INWARDS? 

Our  interpretation  of  the  passages  containing  the  words  irkifKrix^  (pp- 
38  f.),  pepulit  (pp.  39  f.),  and  percutere  (pp.  40  f.)  required  that  we 
should  assume,  at  least  for  those  passages,  that  the  stage-door  opened  out- 
wards. Let  us  now  see  what  evidence  there  is  on  this  point.  The  informa- 
tion on  this  subject  given  in  our  commentaries  is  meagre.  And  yet  there  is 
sufficient  evidence  in  the  texts  of  the  dramatic  poets,  in  the  learned  writers, 
in  the  casual  statements  of  Greek  and  Latin  authors,  and  in  vase-paintings, 
wall-paintings,  and  reliefs  to  give  a  consistent  answer  to  the  question. 

The  stage-door  and  the  door  in  the  private  house  must  be  investigated 
separately.  In  a  matter  like  this  the  practice  of  the  stage  may  not  always 
have  been  the  same  as  that  of  private  life,  though  one  might  expect  that  the 
stage-practice  would  originally  have  been  an  exact  reflection  of  the  usage  of 
every  day  life.  But,  as  we  shall  see,  reasons  of  a  public  nature  operated  to 
determine  whether  the  front  door  of  the  private  house  should  swing  out- 
wards or  inwards,  while  the  stage-door  was  free  from  all  external  conditions. 
It  could  be  swung  as  playwrights,  stage-managers,  and  actors  decided  was 
most  suitable  for  the  purposes  of  the  stage. 

As  a  preliminary  to  our  discussion  of  the  door  in  the  back-scene  of  the  Greek 
and  Roman  theater,  it  would  be  well  to  inquire  about  the  door  to  the  private 
house.  "We  recall  the  important  statement  of  Plutarch  (Vit.  Pdblic.  20),  al- 
ready quoted  on  p.  25  f.,  that  in  former  times  (Tporepov)  the  doors  of  Greek 
houses  universally  opened  outwards.  We  observe  that  the  author  does  not . 
vouch  for  the  statement  (Xeyovcn)  and  that  it  is  represented  by  him  as  an 
inference  from  the  language  of  the  comic  writers:  aird  tcov  KcofjcoSiCiv  \atx^avovTes, 
The  value  of  the  statement  depends  upon  the  chronological  limitations  one 
puts  on  the  word  wpoTepov,  for  it  may  be  true,  for  all  we  know,  that  in  the 
remote  past  the  front  doors  of  Greek  private  houses  did  regularly  open  upon 
the  street. 

The  only  genuine  evidence  that  doors  in  Greek  private  houses  opened 
outwards  is  furnished  by  a  couple  of  passages  in  Aristotle  which  mention 
prohibitory  legislation.     Hippias  put  a  tax  on  such  doors  as  encroachments 

42 


DID    STAGE-DOOK   OPEN   OUTWARDS   OR   INWARDS  43 

upon  the  public  way:  Oeconomica  2-1347  a  :14  'iTTTrtas  (6)  'A.dt\valos  to. 
virepkxovTa  TOiv  VTrepc^ojv  els  tcls  dTjixoo-las  68ovs  Kal  robs  ava^adjjLovs  Kal  tol  irpo(f>pa.y- 
liarcL  Kal  tcls  Ovpas  rds  avoiyofievas  e^co  eTcoXrjaev. 

Whether  the  democracy  went  further  than  Hippias  and  positively  pro- 
hibited such  doors  cannot  be  determined  with  certainty,  but  this  seems 
a  plausible  inference  from  Arist.  Resp.  Ath.  50-2:  /cat  rds  ddobs  KcoXvovat 
(i.e.,  ol  aarvvbixoC)  KaTOLKodofxelv ,  Kal  bpv(f>aKT0vs  virep  roiv  odcov  virepTeheLv,  Kal 
ox^TOvs  fxerecopovs  els  Trjv  68dp  eKpovv  exovras  TOtelv,  Kal  tcls  dvpldas  els  tt^v  d86v 
avolyeiv.  Either  dvpibas  means  "doors,"  as  Kenyon  argues  ad  loc,  or  if  it 
has  its  usual  meaning  ''windows"  (see  Sandys'  note),  it  seems  rather  strange 
that  projecting  doors  are  not  mentioned  with  the  other  encroachments,  some 
of  them  less  objectionable  than  such  doors  would  be.  In  any  event,  houses 
provided  with  a  prothyron  on  the  street  would  have  their  front  wall  set  back 
from  the  street  by  at  least  the  depth  of  the  prothyron,  and  the  door  could 
swing  outwards  without  interfering  with  passers-by.  We  may  add  that 
Polyaenus  relates  (3  •  30)  that  Iphicrates,  the  Athenian  general,  was  in  need 
of  money  and  so  persuaded  the  Athenians  to  pass  a  regulation  about  such 
encroachments  upon  the  pubhc  streets  (rd  virepexovTa  tCov  olKodofirjiJLaTcov  es  tcls 
drjfjLoalas  68ovs  cnroKOTrTeLV  rj  irLTrpa<jKeiv),  the  result  of  which  was  that  he  took 
in  much  money  from  those  who  preferred  not  to  disfigure  their  houses. 

Let  us  now  pass  to  particular  instances.  The  front  door  to  the  house 
in  Plato's  Protagoras  (314  D)  opened  inwards:  k-KeLbi}  yovv  eKpovaafxev  Tr)v  dvpav, 
avol^as  Kal  l8^v  i^Mots?  "Ea,"  (E<j)rj,  (X0(l)L(TTal  TLves'.  ov  ax^^V  aurcji."  Kal  afxa 
cLfi(f)olp  Tolv  x^potj'  TTiv  dvpav  TTCLvv  TTpoOviMos  COS  olos  T  "qv  eiT'qpa^e.  The  slave  who 
slammed  the  door  in  the  face  of  visitors  (eirrjpa^e)  was  on  the  inside;  hence 
the  door  opened  toward  him.    This  house  had  a  prothyron  (314  C). 

We  may  possibly^^  take  as  evidence  for  this  same  period  these  passages 
found  in  Plutarch,  as  they  both  refer  to  the  death  of  Leontidas  and  use  the 
same  word  evdovpai.  The  first  is  Vit.  Pelop.  11.4:  rots  8e  irepl  t6v  ILekoiribav 
epycfjdecTTepov  airrjvTa  to  Tpdyfxa'  Kal  yap  ewl  vi)4>ovTa  Kal  beivbv  avdpa  top  Aeov- 
Tidav  ex^povv,  Kal  KeKXeLCfxevrjv  ttjv  olKlav  evpov  i]8r]  Kadev8ovTOs,  Kal  irokhv  xPOJ'ov 
KOTTTOvaiv  avTols  VTTjKovev  ov8els.  ijloXls  8e  iroTe  tov  depdirovTos  aladoiievov  irpoibvTos 
ev8oBev  Kal  tov  [jlox^ov  d<f>aLpovvTOs ,  ajua  t^  irpoiTOV  ev8ovvaL  Kal  xctXacrat  rds  dvpas 
efJLTeaovTes  ddpooL  Kal  tov  oUeTrjv  dvaTpexf/avTes  eirl  tov  BaKajJiov  cbpjJLrjaav.  The 
second,  Moralia  597  D,  refers  to  the  same  event:  erpaxdrj  8^  KaKelva  tovtov 
TOV  TpoTTOv     eKoxpav  ol  irepl  Ti.eKoTrl8av  tov  AeovTl8ov  ttiv  avkeiov  rjavxv  irpocreKdov- 

^^  If  Plutarch,  unmindful  of  antiquities,  modernized  his  stories,  then  these  two 
passages  cannot  be  taken  as  evidence  for  the  fourth  century.  See  R.  C.  Flickinger, 
Plutarch  as  a  Source  of  Information  on  the  Greek  Theater,  p.  22. 


44  HOUSE-DOOR   ON   THE  ANCIENT  STAGE 

res,  /cat  Tp6s  tov  vwaKOvaavra  tcov  olKerajv  ecfyacrav  riKeiv  'Adrjvrjdev  7paju/iara  rqj 
AeoPTidrj  xapa  KaXXto-rpdrou  KOfii^ovres.  ojs  5'  d7ra77etXas  /cat  KeXevadels  avol^aL 
TOV  jjLox^ov  ac^eiXe  /cat  iiLKpdv  kvedcoKe  Trjv  dvpav,  enireaovres  adpboi  /cat  avarpexp avres 
TOV  apdpoJTTov  tePTO  bpb{i(jo  bia.  rris  avXrjs  kiri  top  dakatxop.  The  verb  kpbovvai,  from 
the  point  of  view  of  the  man  on  the  inside,  indicates  that  the  door  opened 
inwards. 

See  also  Plutarch's  account  of  the  murder  of  Dio  {Vit.  Dion.  57):  ajua 
b'  ol  jiep  e^o)  tcls  dvpas  cTrto-Trao-d/xewt  (i.e.,  "drawing  the  door  to  them  and  closing 
it")  KaTelxop,  ol  8^  tc^  Alcopl  irpocnreo-oPTes  KaTex^LV  kireipibPTO  koI  avPTpl^eLP  avTOP. 
cos  8'  ov8h  kw'epaLvop,  fjTOVP  ^l(f)OP.     ov8els  6'  eToXfia  tcls  dvpas  apol^aL.^^ 

Evidence  from  the  Hellenistic  period  for  Greek  houses  in  Asia  Minor 
is  furnished  by  the  excavations  at  Priene.  Wiegand  and  Schrader  {Priene 
p.  305)  report:  "Die  Fliigelthiiren  offneten  sich  stets  nach  innen." 

As  regards  the  Greek  private  house  we  may  conclude  that  the  general 
practice  underwent  a  gradual  change,  as  the  result  of  restrictive  or  prohibir 
tory  legislation,  between  the  fifth  and  fourth  centuries.  During  the  tyranny 
of  Peisistratus  the  street-door  often,  if  not  commonly,  opened  outwards  into 
the  street,  but  by  the  fourth  century  it  usually,  if  not  always,  swung  inwards. 

Passing  now  to  the  Roman  private  house,  we  find  almost  a  complete  consen- 
sus of  evidence  to  the  effect  that  from  at  least  the  sixth  century  down  the  street- 
door  opened  inwards.  In  Vit.  Pohlic.  20,  the  passage  already^moted  on  p. 
25  f.,  Plutarch  says  that,  although  all  other  doors  opened  inwards  at  that  time, 
Poblicola's  house,  as  a  mark  of  special  distinction,  was  permitted  to  have  its 
door  opened  outwards  upon  the  street.  The  same  statement  is  made  in  no 
less  sweeping  terms  by  Dionysius  of  Halicarnassus  (Antiq.  Rom.  5.39) :  TavTrjs 
TTJs  ot/ctas.  Trap'  rjp  6  xaX/cous  e<TTr}Ke  Tavpos,  at  /cXto-tdSes  dvpai  fJLOPai  tu)p  ev  tyj  'Fco/jL-a 
8r]iJLO(Tlo)v  T€  /cat  18uji3tlko}v  oXkoov  €ts  TO  e^o)  fxepos  apoiyovTai.  The  special  distinc- 
tion granted  Poblicola  is  also  mentioned  by  Pliny  the  Elder  {N.  H.  36.112) 
and  Asconius  {In  Pis.  12).  There  is  no  evidence  to  show  that  the  practice 
in  Rome  of  swinging  the  door  inwards  ever  changed. ^^ 

The  street-doors  of  the  private  houses  unearthed  at  Pompeii  regularly 
opened  inwards,  as  in  Rome;  see  Mau,  Fiihrer  durch  Pompeji  p.  76,  who 

^°  Cf .  Xenophon  Hel.  6.4,36:  cbs  5*  e'urijXdop,  kTunr&acura  rriv  dvpav  etx^ro  tov  ^Sirrpou, 
ius  iTTfOavev  b  divqp.  After  letting  the  assassins  in,  the  woman  remained  outside  and  held 
the  door  closed  by  pulling  upon  the  }>6irTpov;  hence  this  door  opened  inwards  but  it  was 
a  room-door,  not  the  street-door. 

'^  Professor  A.  M.  Harmon  maintains  that  the  distinction  granted  Poblicola  would 
not  have  been  a  special  privilege,  had  there  not  have  been  a  law  against  the  door  open- 
ing outwards,  and,  hence,  that  in  early  days  Roman  doors  did  open  outwards  sometimes. 


DID   STAGE-DOOR   OPEN   OUTWARDS   OR   INWARDS  45 

says  of  the  Casa  delFauno:  "DieTiir  zwischen  Vestihulum  und  Fauces  offnete 
sich  nach  aussen,  was  sonst  nie  vorkommt  und  vermutlich  verboten  war.^^ 

We  now  pass  to  the  door  in  the  back-scene  of  the  Greek  and  Roman 
theater.  There  are  a  few  passages  in  the  Greek  and  Latin  plays  which  give 
evidence  on  the  subject,  and  fortunately  the  evidence  is  clear  and  conclusive, 
if  our  interpretations  in  the  preceding  chapter  are  right:  the  stage-door 
opened  outward  upon  the  street  or  the  space  in  front  of  the  house,  and  this 
too  whether  the  house  had  a  prothyron  or  not. 

We  first  cite  the  only  passage  which  offers  serious  difficulty  to  the  inter- 
preter, Sophocles  Antig.  1186  f. :  Kal  Tvyxo-voi  re  kX^Gp'  avacriraaTov  irvXrjs  \  xctXcoo-a. 
It  is  the  general  opinion  of  editors  of  Sophocles  that  the  door  in  question 
swung  outwards.  See:  Wolff-Bellermann  ad  loc:  "Die  Fltigel  der  Thiir 
sind  von  innen  durch  einen  quer  vorliegenden  Riegel  geschlossen;  diesen 
muss  sie  zuriickschieben  (xaXdv  lose  machen)  und  dann  die  Thiir  nach  aussen 
aufschlagen  {avacrwdv)/^  Schneidewin-Nauck :  "offnend  den  Riegel  der 
infolge  dessen  sich  aufthuenden  Thiire  .  .  .  Da  die  Thiiren  der  Alten 
nach  aussen  gingen,  so  zog  man  sie  beim  Hineingehen  an  (cTrtppd^at  O.R.  1224) 
und  loste  den  Riegel,  um  sie  nach  aussen  zu  offnen,  beim  Hinausgehen." 
Jebb,  however,  and  Humphreys  believe  the  door  opened  inwards,  arguing  that, 
since  eTLo-irdv  means  to  pull  the  door  to  in  going  out,  dvaairdv  must  mean  the 
opposite.  D'Ooge  cites  several  passages  (Polyb.  5.39.4;  Soph.  Aj.  302;  Eur. 
Med.  1351)  to  prove  that  dvacirdv  means  to  open. 

A  second  passage  bearing  upon  this  question  is  Euripides,  Orest.  1561  f.: 
dvoLykroi  tls  dcofxa'     wpoaToXoLS  \eyo)  \  oiSelv  irvXas  rdabe.     Menelaus  is  in  front 

52  See  also  Bliimner,  Die  Rom.  Privataltertumer  p.  19:  '*Dass  sich  die  Tiir  des  rom- 
ischen  Hauses  nach  innen,  nicht  nach  aussen  offnete,  das  lehren  nicht  nur  die  Beobach- 
titngen  in  Pompeii,  wo  das  die  Regel  ist,  sondern  auch  direkte  Nachrichten,  nach  denen 
das  Gegenteil  nur  ausnahmweise  vorkam,  als  eine  Auszeichnung  fiir  verdiente  Man- 
ner, deren  Hauser  dadurch  gewissermassen  tiber  das  allgemeine  Gesetz  gestellt  wurden." 
Also  Pottier,  Daremherg-Saglio  s.v.  ianua:  "On  a  vu  plus  haut  que  I'affirmation  de  Plu- 
tarque  sur  la  fagon  dont  les  portes  s'ouvraient  a  Athens  et  k  Rome  ne  merite  pas  un  ab- 
solue  creance.  S'il  est  naturel  que  la  plupart  des  maisons  aient  eu  des  portes  dont  les 
valvae  se  rebattaient  k  I'interieur,  on  ne  pent  pas  dire  que  la  maison  de  Valerius  Pub- 
licola  ait  et6  k  Rome  la  seule  qui  s'ouvrit  sur  le  dehors.  On  consulte  Scaevola,  juriste 
contemporain  de  Ciceron,  sur  le  cas  d'un  Romain  qui  a  ouvert  une  porte  sur  le  dehors, 
sans  depasser  la  ligne  de  protection  de  sa  gouttiere  et  des  poutres  de  son  toit.  A  Pom- 
pei  m^me,  on  a  trouve  dans  une  maison  de  belle  apparence  une  porte  qui,  en  s'ouvrant, 
empietait  sur  la  rue;  mais  les  autres  s'ouvrent  sur  I'interieur.  Par  consequent,  k 
Rome  comme  a  Athens,  les  habitudes  furent  les  memes;  les  portes  s'ouvraient  leplus 
habituellement  sur  I'interieur,  et  le  contraire  fut  motive  par  des  raisons  exception- 
nelles  de  recompense  ou  de  luxe." 


46  HOUSE-DOOR   ON   THE  ANCIENT  STAGE 

of  the  palace  and  commands  those  on  the  inside  to  open  the  door  by  remov- 
ing the  bars  and  thrusting  it  outwards.  This  makes  the  door  swing  outwards. 
(See  Paley  ad  loc.^) 

Aristophanes  (Vesp  138  ff.)  shows  conclusively  that  the  door  in  this 
play  was  so  swung  as  to  open  outwards : 

Bd.  ov  7r€pt5pa/A€trat  (t4>^v  rax^cos  btvp   arepos', 

6  yap  waTTip  ks  rbv  iirvbv  €l(reKr)\vde 

/cat  iJLvawdKel  tl  KaTadeSvKOJs.     dXX'  oBpei 

/card  rrjs  irveXov  to  rprjix*  ottojs  ^117  'KdvcreraL- 

(TV  bk  ry  dvpq.  irpoaKeicro.     So.  ravr  a)  deawora. 
Bd.  ava^  UoaeLdov  rl  tot   ap   1)  KCLirvrj  ipoifyel', 

ovTOS  tLs  el  ov',  Phi.  Kairvos  €70)7'  k^epxoiiai. 
Bd.  Kaxvos]  <t)kp  Idea  ^vXov  t'lvos  av',  Phi.  cvkIvov. 
Bd.   PTj  Tov  At'  oairep  7'  €(rrt  bpniVTaTOS  Kairvihv, 

cLTCLp  ovKeT   eppTjoeiS  7€,  TTov  'od'  7]  TT/Xta; 

8vov  ttoKlv'     4>ep'  eiravadcb  ool  Kal  ^v\ov, 

evTavda  vvv  ^rjTeL  tlv   aWrjv  jirix^vi^' 

drdp  d^Xtos  7'  tip.'  cos  €T€p6s  7'  ovbds  avrjp, 

ocrrts  iraTpds  vvvl  Y^airviov  KeK\-f)aop,aL. 
So.   (obe)^  TTjv  dvpav  codel'     Bd.  irU^e  vvv  a<i>6bpa, 

ev  KOLvbpLKccs'     Kayw  yap  kvTavd'  epxop>aL. 

/cat  TTjs  KaTaKKjbos  €inp.e\ov,  /cat  tov  iiox^ov 

<f)v\aTd'  OTTWS  jlm)  ttiv  l3a\avov  e/crpcb^erat. 

Philocleon  is  in  the  house  and  wishes  to  come  out.  *  Bdelycon,  Zanthias, 
and  Sosias  are  on  the  outside  and  desire  to  prevent  him  from  getting  out.  To 
accomplish  their  purpose,  they  first  push  him  back  into  the  chimney,  and 
then,  when  he  tries  to  push  open  the  door  {codel),  they  press  against  it 
from  the  other  side.     The  door  must,  therefore,  have  opened  outwards. 

In  the  preceding  chapter  we  have  shown  (pp.  38  ff.)  that  the  correct  in- 
terpretation  of  ireTXrjxe  in   Menander's   Samia  and  Epitrepontes  and  of 

^'  It  is  possible,  however,  that  the  irpoairdKoL  to  whom  Menelaus  speaks  are  his 
own  attendants;  in  this  case  the  door  opens  inwards. 

»*  If  in  1.  152  xal,  Tijv  dbpav  iadei  is  read,  with  the  Aldine  edition,  and  Bd.  contin- 
ued as  the  speaker,  the  result  is  just  the  same  so  far  as  the  door  is  concerned.  The 
verb  i^ilv  can  be  used  for  push  to  open  or  push  to  keep  closed.  But  the  former 
meaning  is  probably  the  more  common,  cf.  Lysias,  1*22:  oxravres  riiv  dvpav  tov  duiiarlov. 
The  first  syllable  of  this  line  is  lacking  in  the  MSS.  and  Sde  is  due  to  Hermann.  The 
assignment  of  parts  is  due  to  Hamaker. 


DID   STAGE-DOOR   OPEN   OUTWARDS   OR   INWARDS  47 

pepulit  in  Terence's  Adelphoe  carries  with  it  the  presumption  that  the  doors 
in  question  swung  outwards.  The  same  has  been  shown  to  be  true  of  per- 
cussit  (p.  40 f.)  in  Plautus'  Mostellaria,  of  cardo  strepit  (p.  40)  in  Seneca's  Medea, 
and  of  sonat  cardo  (p.  80)  in  Gracchus'  Peliades. 

Let  us  now  sum  up  the  evidence  we  have  from  the  plays  themselves: 
In  five  Greek  plays,  three  from  the  fifth  century  and  two  from  the  end  of  the 
third,  the  doors  opened  outwards,  viz.  in  Sophocles'  Antigone,  Euripides'  Ores- 
tes, Aristophanes'  Wasps,  and  Menander's  Samia  and  Epitrepontes.  This 
is  in  harmony  with  the  source  of  Plut.  Pohlic.  20,  who  according  to  Plutarch, 
derived  his  information  from  Greek  comedy.  On  the  Roman  side,  the  evi- 
dence seems  to  show  quite  as  clearly  that  the  doors  in  four  plays,  from  widely 
separated  periods,  opened  in  the  same  way,  viz.  in  Plautus'  Mostellaria,  Ter- 
ence's Adelphoe,  Gracchus'  Peliades,  and  Seneca's  Medea.  We  can  cite  no 
evidence  that  goes  to  show  that  the  door  in  any  play,  Greek  or  Roman, 
opened  inwards,  and  so  conclude  that  the  door  in  the  back-scene  jn  the  Greek 
and  Roman  theater  swung  outwards,  since  it  is  hardly  conceivable  that  the 
stage-practice  in  any  given  period  varied  or  that  the  door  in  a  particular 
play  would  be  hung,  contrary  to  the  usual  practice,  to  suit  the  lines.  In  such 
matters,  the  stage  would  dictate  to  the  poet,  not  the  poet  to  the  stage.^^ 

This  conclusion  is  confirmed  by  archaeological  evidence  obtained  from 
vases,  wall-paintings,  and  reliefs  on  which  dramatic  scenes  with  state-setting 
are  represented.  Each  one  in  the  following  list,  which  may  not  be  complete, 
shows  one  or  more  doors  opening  out  upon  the  scene.  As  far  as  possible, 
the  dates  and  the  dramatic  scenes  are  given  and  the  first  reference  with  each 
shows  the  reproduction: 

(1)  Vase.  Berlin  3044.  iv.  cent.  B.  C.  Comic  scene.  Baumeister, 
Denhmdler  iii,  p.  1754,  n.  1830.  (2)  Ruvo  Vase.  iv.  cent.  B.C.  Comic  scene. 
Baumeister,  ibid,  p.  1753,  n.  1829.  (3)  Vase.  Jatta  Catalogue,  239.  iv. 
cent.  B.C.  It  represents  the  slaying  of  Neoptolemus  at  Delphi  at  the  in- 
stigation of  Orestes,  as  portrayed  in  Eur.  Androm.  891.  Huddilston,  Greek 
Tragedy  in  the  Light  of  Vase  Paintings,  pp.  83  f.  (4)  Vase.  Marquis  de 
Salamanca,  Madrid.     Between  350  and  320  B.C.     Perhaps  it  represents 

55  The  ruins  of  theaters  which  have  been  excavated  in  recent  years  unfortunately 
give  no  evidence  on  this  subject.  In  several  (e.g.  Athens,  Eretria,  Megalopolis)  it  is 
reported  that  the  sill  of  the  central  door  of  the  proscenium  shows  the  pivot-holes  of 
the  double  door,  but  no  arcs  are  scratched  on  the  surface  by  which  the  direction  of  the 
swing  is  indicated.  Such  arcs  are  reported  by  Wiegand  and  Schrader  (I.e.  p.  244)  to 
be  on  the  sill  of  the  central  door  of  the  scaena  at  Priene,  the  door  opening  inward;  but 
this  door  does  not  concern  us  here. 


48  •       HOUSE-DOOR  ON  THE  ANCIENT  STAGE 

Heracles  destroying  his  children  as  described  in  Eur.  Here.  Fur.  975  ff.  Mon. 
delV  Inst,  viii  (1864)  Tav.  10.  (5)  Vase.  Brit.  Mus.  1490,  Between  300 
and  250  B.C.  Comic  scene.  Arch.  Jahr.  i.  p.  293.  (6)  Vase.  Ruvo  Am- 
phora in  Naples,  Heydemann  no.  3223.  iv.  cent.  B.C.  Orestes  and  Pyl- 
ades  before  the  temple  in  Tauris.  Overbeck,  Gallerie,  Taf.  30.4;  Vogel, 
Scenen  Eurip.  Tragodien  in  griech.  Vasengemdlden,  pp.  70  f.  (7)  Vase. 
Ruvo  amphora  in  Naples,  iv.  cent.  B.C.  Iphigenia  gives  to  Pylades  the 
letter  to  take  to  Argos:  See  Eur.  Iph.  Taur.  745  ff.  Overbeck,  ibid.,  Taf. 
30.7;  Vogel,  ibid.,  pp.  72  f.  (8)  Pompeian  wall-painting.  Between  50  and 
79  A.D.  Scenic.  NicoUni,  Le  Case  ed  i  mon.  di  Pompeii^  fasc,  97,  Nuovi 
Scavi  Tav.  vi,  Photogr.  Mauri.  823.  (9)  Pompeian  wall-painting.  Between 
50  and  70  A.D.  Scenic.  Arch.  Anz.,  1896,  p.  29;  Gargiulo,  Museo  Borhon- 
ico  II,  T.  83,  Photogr.  Brogi  6535  (10)  A  so-called  Megarian  bowl  with 
figures  in  reUef.  in.  cent.  B.C.  A  messenger  summons  Jocasta  and  Anti- 
gone to  th§  combat  between  Polynices  and  Eteocles,  as  described  in  Eur. 
Phoen.  1259  f.  Arch.  Jahr.  xxiii.  pp.  184  ff.  (11)  Terra  cotta  relief  (Vola- 
terra).  Between  iii.  and  ii.  cents.  B.C.  Tragic  scene.  Overbeck  Gallerie, 
Tafel,  6.2;  Brunn,  Relievi  Delle  XJrne  Etrusche,  i.  p.  38,  pi.  34.17.  (12) 
Terra  cotta  relief  (Volaterra).  Between  in.  and  ii.  cents.  B.C.  Tragic 
scene.     Overbeck,  op.  cit.  Tafel.  28.3;  Brunn,  op.  cit.  i.  p.  92,  pi.  74.2.^^ 

*^  Other  scenic  reliefs  show  the  door  but  it  is  closed. 


CHAPTER  V 
The  Use  of  the  Stage-door  and  the  Parodoi  in  the  Plays 

In  the  first  part  of  this  chapter  we  shall  discuss  entering  and  leaving 
the  scene  of  action  through  the  door  in  the  back-scene  and  by  the  parodoi 
(side-entrances). °^  Every  person  that  comes  on  the  stage  or  leaves  it  causes 
a  change  in  the  situation  by  his  entrance  or  exit,  adding  an  element  that  was 
not  present  before  or  subtracting  an  element  previously  present.  The  amount 
of  coming  and  going  in  a  play  therefore  forms  a  rough  gauge  of  the  amount 
of  action  in  it.  If  there  are  few  entrances  and  exits,  the  amount  of  action 
cannot  possibly  be  high;  if  there  are  many  entrances  and  exists,  it  will  not 
ordinarily  be  low.  The  gauge  is  only  a  rough  one  because,  if  one  uses  the 
word  action  in  a  narrow  sense,  the  amount  of  it  will  depend  on  the  use  the 
playwright  makes  of  the  characters  that  come  and  go,  and  this  in  its  turn 
will  be  conditioned  by  the  story  that  he  -wants  to  tell.  To  illustrate  by 
anticipating  results,  the  'Oed.  Col.,  which  is  ordinarily  spoken  of  as  low  in 
action,  has  but  little  under  the  number  of  entrances  and  exits  normal  to 
Sophocles,  and  has  just  as  many  as  the  Track,  and  more  than  the  Elec, 
which  would  be  called  much  higher  in  action.  This  gauge,  however,  is  the 
only  one  that  can  be  applied,  and  it  will  not  be  misleading  if  we  do  not 
attempt  to  draw  conclusions  from  it  as  to  individual  plays.  For  as  a  gen- 
eral proposition  it  will  hardly  be  disputed  that  the  amount  of  action  in  a 
play  will  be  reflected  in  the  coming  and  going. 

The  tabulations  given  below  show  the  number  of  entrances  and  exits 
found  in  the  tragedies  of  Aeschylus,  Sophocles,  Euripides,  and  Seneca,  and 
in  the  comedies  of  Aristophanes,  Menander,  Plautus,  and  Terence.^^ 

=^  If  two  or  more  actors  come  on  the  scene  or  leave  it  together,  this  is  counted  as 
one  instance.  ^. 

°»  Ernst  Bodensteiner,  "Szenische  Fragen,"  Jahr.  Clas.  Phil.  Suppl.  19,  has  proved 
useful  to  me  in  the  preparation  of  the  data  on  Aeschylus,  Sophocles,  Euripides,  and 
Aristophanes.  My  aim  has  been  to  be  as  accurate  as  possible,  but  I  must  admit  that 
the  tables  may  contain  errors,  since  it  is  difficult  in  some  instances  to  tell  whether  an 
actor  makes  use  of  the  door  in  the  back-scene  or  the  parodoi  in  entering  and  leaving 
the  scene  of  action.  Another  difficulty,  especially  true  of  Seneca's  tragedies,  is  occa- 
sioned by  the  fact  that  at  times  one  can  scarcely  tell  whether  an  actor  remains  on  the 
stage  or  leaves  it. 

49 


50 


HOUSE-DOOR  ON  THE  ANCIENT  STAGE 


Use 

of  the  back- 

scene  door  and  parodoi 

by  actors 

AES.«° 

ENTRS.  BY  D. 

EXITS  BY  D. 

ENTRS.  BY  P. 

EXITS  BY  p. 

TOTAL 

Agam 

6 
9 
4 
0 
0 
0 

7 
6 
1 
0 
0 
•     0 

4 
3 

9 
5 

8 
6 

2 
3 
9 
4 

8 
6 

19 

Cho 

21 

Eum 

23 

Pers 

9 

Sep    .. 

16 

Supp 

12 

Totals 

19 

14 

35 

32 

100 

Average ,    . 

16f 

SOPH. 

ENTRS.  BY  D. 

EXITS  BY  D. 

ENTRS.  BY  P. 

EXITS  BY  P. 

TOTAL 

Ajax 

7 
8 
6 
0 
8 
2 
7 

4 

8 
5 
0 
5 
2 
6 

10 
6 
6 

14 

7 

8 
6 

8 
9 
3 
9 
6 
9 
4 

29 

Antig 

31 

Elec 

20 

Oed.  Col 

23 

Oed.  Rex 

26 

Phil 

21 

Trach 

■  23 

Totals 

38 

30 

57 

48 

173 

Average 

244 

•<>  No  back-scene  was  employed  in  the  four  early  plays  of  Aeschylus,  ias  Wilamo- 
witz  has  shown  once  for  all  in  "Die  Buhne  des  Aischylos,"  Hermes  XXI  (1886),  pp. 
597  ff.    All  entrances  and  exits  were  made  through  the  parodoi  or  side-entrances. 


USE   OF   STAGE-DOOR   IN   THE   PLAYS 


51 


EUR. 


ENTRS.BYD. 


EXITS  BY  D. 


ENTRS.  BY  P.     EXITS  BY  P 


TOTAL 


Ale 

Androm. . 

Bac 

Cyc 

Elec 

Hec 

Hel 

Heraclid . . 
Here.  Fur. 
Hippol  — 

Ion 

Iph.  Aul.. 
Iph.  Taur. 

Med 

Or  est 

Phoen 

Supp 

Troad 

[Rhe.fK... 


7 
7 
5 
8 
7 
6 
9 
3 
5 
3 
4 
8 
7 
5 
5 
7 
0 
6 
[1] 


7 
2 
5 
8 
9 
2 
7 
1 
5 
8 
3 
8 
8 
7 
6 
3 
0 
2 
[1] 


6 

6 

10 

3 

8 
7 
7 
7 
5 
8 
9 
9 
7 
9 
7 
7 
9 
8 
[11] 


5 
6 

10 
2 

7 
10 
6 
7 
3 
7 
8 
10 
5 
9 
7 
8 
8 
8 
[11] 


25 
21 
30 
21 
31 
25 
29 
18 
18 
26 
24 
35 
27 
30 
25 
25 
17 
24 
[24] 


Totals. 


102 


91 


132 


126 


451 


Average 


25tS 


®^  Not  included  in  totals  and  average. 


52 


HOUSE-DOOR   ON  THE  ANCIENT  STAGE 


SEN. 

ENTRS.  BY  D. 

EXITS  BY  D. 

ENTRS.  BY  P.     EXITS  BY  P. 

TOTAL 

Agam 

1 
6        1          5 

2                  1 

6        1          6 
13                12 

6  4 

7  i          ^ 

6 

5 

8 

1 

6 
4 
5 
3 
6 
[5] 

3 
4 
6 
1 
6 
3 
5 
2 
4 
[6] 

20 

Here.  Fur 

12 

Here.  Oet 

26 

Med 

27 

Oed 

22 

Phaed 

19 

Phoen 

0 
4 
3 

[8] 

0 

2 

4 

[5] 

10 

Thyes 

11 

Troad 

17 

[Octav.f^ 

[24] 

Totals 

47 

39 

44 

34 

164 

Average 

18* 

ARI8TOPH. 


ENTRS.  BY  D. 


EXITS  BY  D. 


ENTRS.  BY  P. 


EXITS  BY  P. 


TOTAL 


Ach. .  . 

Av 

Eccl... 
Eq.... 
Lys... 
Nub... 
Pax... 
Plut... 
Ran . . . 
Thesm . 
Vesp. . 


Totals. 


14 

8 

9 

11 

22 

21 

15 

9 

8 

7 

15 


139 


13 

9 

5 

8 

11 

16 

13 

7 

7 

5 

11 


105 


21 
22 
15 

4 
10 

4 

5 
12 

6 
11 
10 


120 


16 
16 
8 
6 
5 
4 
7 
6 
5 
15 
6 


94 


64 
55 
37 
29 
48 
45 
40 
34 
26 
38 
42 


458 


Average 


41t^ 


•'  Not  included  in  totals  and  average. 


USE   OF   STAGE-DOOR   IN   THE   PLAYS 


53 


MEN." 

ENTRS.  BY  D. 

EXITS  BY  D. 

ENTRS.  BY  p. 

EXITS  BY  P. 

TOTAL 

Epitr             

13 

11 

9 

11 
12 
10 

7 
6 
3 

10 

5 

1 

41 

Per 

34 

Sam 

23 

Totals 

33 

33- 

16 

16 

98 

Average     ...              ...                                   

321 

PLAUT. 

ENTRS.  BY  D. 

EXITS  BY  D. 

ENTRS.  BY  P. 

EXITS  BY  P. 

TOTAL 

Amph 

• 

7 

9 
21 
14 
10 
20 

5 
13 
12 
11 
11 
21 

9 
14 
15 

8 
21 
15 
11 
13 

11 

7 
20 
13 
10 
22 

7 

9 
13 
11 

9 
22 

9 
14 
13 
11 
22 
13 
10 
15 

7 

6 

8 

10 

8 

5 

6 

7 

8 

13 

14 

5 

11 

8 
5 

10 

12 

5 

5 

9 

5 

5 

7 
9 
9 
3 
6 

11 

10 

5 

10 

4 
5 

7 

7 
8 

30 

Asin 

27 

Aul 

56 

Bacch 

46 

Capt 

37 

Cas 

50 

Cist 

24 

Cure                    .    . 

35 

Epid 

39 

Men 

46 

Merc 

44 

Mil 

53 

Most 

39 

Pers 

41 

Poen 

37 

Ps 

34 

Rud 

62 

Stick 

36 

Trin 

33 

True 

45 

Totals 

260 

261 

162 

131 

814 

•  Average 

40A 

In  Menander's  plays  only  the  cases  actually  testified  to  in  our  text  are  counted. 


54 


HOUSE-DOOR   ON   THE  ANCIENT  STAGE 


TER. 

ENTRS.  BY  D. 

EXITS  BY  D. 

ENTRS.  BY  P. 

EXITS  BY  P. 

TOTAL 

Ad 

17 
13 
19 
20 
14 
13 

18 

20 

20 

17 

16' 

13 

12 
16 
17 

8 

5 

12 

8 

10 

10 

5 

7 
9 

55 

And 

59 

Eun 

66 

HscLut'              .    ... 

50 

Hec            

42 

Phor 

47 

Totals  . 

96 

104 

70 

49 

319 

Average 

53^ 

The  average  of  16f  in  Aeschylus  is  not  to  be  taken  as  a  true  one  but 
only  as  a  mean  between  the  low  average  of  12 J  in  the  three  plays  without 
a  back-scene  {Pers.  9,  Sep.  16,  Supp.. 12)  and  the  relatively  high  one  of  21 
in  the  three  plays  of  the  Oresteia  {Agam.  19,  Cho.  21,  Eum.  23).  The  use 
of  the  back-scene  is  accompanied  by  a  great  increase  in  the  amount  of  action. 
In  the  Eumenides  {IS:  5)  the  parodoi  are  used  much  more  than  the  door; 
in  the  Agamemnon  (13:  6)  and  the  Choephori  (15:  6)  most  of  the  action  takes 
place  through  the  door  in  the  back-scene. 

The  average  amount  of  action  in  Sophocles  (24f )  and  Euripides  (25tV) 
is  approximately  the  same,  and  much  greater  than  the  average  amount  in 
Aeschylus  (16f);  greater  even  than  the  amount  in  the  Eumenides  (23),  his 
highest  drama.  The  average  in  Sophocles  and  Euripides  is  much  more 
representative:  five  plays  {Ajax  29,  Oed.  Col.  23,  Oed.  Rex  26,  Phil.  21, 
Track.  23)  in  the  former  and  eleven  (Ale.  25,  Androm.  21,  Cyc.  21,  Hec.  25, 
Hel  29,  Hippol.  26,  Ion  24,  Iph.  Taur.  27,  Orest.  25,  Phoen.  25,  Troad.  24) 
in  the  latter  fall  between  21  and  29.  Extremes  for  Sophocles  are  the  Anti- 
gone (31)  and  the  Electra  (20),  for  Euripides  the  Iphigenia  in  Aulis  (35) 
and  the  Suppliants  (17). 

The  plays  without  a  back-scene  in  Sophocles  (Oed.  Col.  23)  and  Euripides 
{Supp.  17)  are  higher  in  action  than  the  corresponding  plays  {Pers.  9,  Sep. 
16,  Supp.  12)  of  Aeschylus.  The  Philoctetes  of  Sophocles,  the  Heraclidae  of 
Euripides,  and  the  Rhesus  make  little  use  of  the  back-scene.  In  the  Phi- 
loctetes practically  all  of  the  action  takes  place  between  the  cave  and  the 
ship  that  has  come  to  convey  Philoctetes  to  Troy,  and  for  this  reason  the 
use  of  the  door  in  the  back-scene  for  entrances  and  exits  is  reduced  to  a 


USE  OF  STAGE-DOOR  IN  THE  PLAYS  55 

minimum.  The  same  is  true  of  the  HeracUdae,  there  being  in  this  drama 
only  three  entrances  (11.  474,  642,  720)  and  one  exit  (1.  698)  through  the 
door;  the  rest  of  the  action  takes  place  through  the  parodoi.  In  the  Rhesus, 
Hector's  tent  constitutes  the  back-scene.  In  1.  11  he  is  awakened  and  comes 
upon  the  scene.  From  then  on  nothing  in  the  action  requires  any  actor 
to  enter  the  tent  until  Hector  does  so  at  the  close  of  the  drama.  In  Eurip- 
ides' Cyclops  nearly  all  the  action  takes  place  through  the  door  leading  to 
the  back-scene  and  thus  makes  it  necessary  to  use  the  parodoi  but  httle. 

Aside  from  the  plays  that  have  been  mentioned,  Sophocles  and  Eurip- 
ides are  consistent  with  one  another  and  vary  from  Aeschylus  in  using  both 
means  of  ingress  and  egress  to  about  the  same  extent.  With  the  exception 
of  the  Oedipus  Coloneus  and  the  Philoctetes  which  have  been  discussed, 
Sophocles  has  in  his  other  five  plays  64  entrances  and  exits  by  the  door  and 
65  by  the  parodoi.  Euripides  has  in  fifteen  plays  (the  Cyclops,  the  Hera- 
clidae,  and  the  Suppliants  have  been  treated)  175  entrances  and  exits  by  the 
door  and  222  by  the  parodoi. 

In  Aeschylus,  Sophocles,  and  Euripides  the  entrances  (54-95-234)  out- 
number the  exits  (46-78-217)  and  this  is  due  in  the  main  to  the  fact  that 
actors  enter  singly  and  go  off  in  pairs  and  groups.  In  Aeschylus  the  exits 
are  to  the  entrances  as  85:100,  in  Sophocles  as  82:100,  and  in  Euripides, 
excepting  the  Cyclops,  the  HeracUdae,  and  the  Suppliants,  as  94:100.  The 
proportion  for  the  fifteen  Euripidean  plays  would  seem  to  indicate  that 
Euripides  is  inclined  to  send  his  characters  off  one  by  one. 

The  "formula"  for  a  normal  play  in  Sophocles  and  Euripides  would  be 
something  like  7:6:6:  6-25  or  6 :  6 :  7 :  6-25.  Any  one  play  of  course  diverges 
more  or  less  from  this  formula.  In  the  Hippolytus  (3:8),  for  instance,  the 
number  of  entrances  through  the  door  is  much  less  than  the  number  of 
exits.  The  cause  of  this  divergence  is  evident.  Hippolytus'  attendants  first 
enter  (1.  58)  the  scene  by  a  side-entrance.  They  go  into  the  house  (1.  108  f) 
and  do  not  return  through  the  scene-door  (1).  The  nurse  leaves  (1.  170  f) 
the  house  once  with  Phaedra  and  her  attendants  and  once  (1.  601)  with 
Hippolytus,  but  reenters  (11.  524  and  708)  it  both  times  alone  (2).  Hippo- 
lytus enters  (1.  113)  the  house  alone  but  leaves  it  (1.  601)  in  company  with 
the  nurse  (1).  Theseus  first  enters  (1.  790)  the  scene  by  a  side-entrance. 
He  enters  the  house  twice  (11.  1089  and  1461)  and  leaves  it  (1.  1156)  but  once 
(1).     This  accounts  for  the  difference  of  five. 

In  the  Andromache  (7:2)  the  preponderance  is  on  the  other  side. 
Andromache  at  the  beginning  (1.  1)  of  the  drama  comes  from  the  house  alone 
but  reenters  it  (1.  463)  with  Menelaus  and  Molossus  (1).     A  servant  first 


56  HOUSE-DOOR   ON   THE  ANCIENT   STAGE 

enters  the  scene  of  action  from  the  house  (1.  56),  departs  (1.  90)  by  a  side- 
entrance,  and  does  not  return  (1).  When  Hermione,  who  is  in  the  house 
at  the  beginning  of  the  play,  comes  from  it  the  second  time  (1.  823  f),  she 
leaves  the  scene  of  action  by  a  side-entrance  (1.  1008)  and  we  hear  of  her  no 
more  (1).  Menelaus,  who  first  enters  (1.  309)  the  scene  by  a  side-entrance, 
goes  into  the  house  with  Andromache  and  Molossus  (1.  463)  but  leaves  it 
(1.  802)  alone  (1).  The  nurse,  who  is  in  the  house  to  begin  with,  leaves  it 
(1.  802)  and  does  not  reenter  it  (1).     Thus  we  have  accounted  for  the  five. 

The  entrances  and  exits  through  the  parodoi  practically  balance  each 
other,  even  more  so  than  the  entrances  and  exits  through  the  scene-door. 
The  divergence  between  the  two  in  some  dramas,  e.g.,  the  Electra  (6:3)  of 
Sophocles  and  the  Hecuba  (7: 10)  may  be  readily  accounted  for  in  the  same 
way  as  noted  in  the  two  preceding  paragraphs. 

We  find  then  in  Sophocles  and  Euripides  a  consistent  technique;  this, 
however,  as  we  have  seen  is  not  true  of  Aeschylus.  In  Seneca  there  is  noth- 
ing like  a  consistent  technique  in  any  direction.  He  represents  a  retrogres- 
sion and  has  in  action  an  average  of  only  18.  Only  three  of  his  plays  {Here. 
Oet  26,  Med.  27,  Oed.  22)  approximate  the  average  in  Sophocles  and  Euripides, 
while  three  {Here.  Fur.  12,  Phoen.  10,  Thyes.  11)  are  very  low.  Seneca  is 
also  inconsistent  in  his  use  of  the  door  (86)  and  the  parodoi  (78),  a  propor- 
tion of  90: 100. 

Comedy  of  course  is  much  richer  in  action  than  tragedy,  and  we  find 
this  clearly  reflected  in  the  amount  of  coming  and  going.  The  average 
number  of  exits  and  entrances  in  Aristophanes,  for  instance,  is  a  little  more 
than  41,  which,  compared  with  the  average  of  25  in  Euripides,  gives  a  ratio 
of  nearly  5  to  3. 

Let  us  next  compare  Aristophanes  or  the  Old  Comedy  with  the  New 
Comedy,  obtaining  our  statistics  for  the  latter  by  combining  those  from 
Plautus  with  those  from  Terence.  Against  the  average  of  41  in  Aristophanes 
we  find  in  the  New  Comedy  as  represented  by  Plautus  and  Terence  an 
average  of  a  little  less  than  44.  As  far  as  we  can  determine  then,  the  Old 
Comedy  and  the  New  were  approximately  equal  in  action.  On  the  whole, 
the  door  (22)  and  the  parodoi  (19  rr)  in  Aristophanes  balance  each  other, 
but  in  most  of  the  plays  one  or  the  other  means  of  entrance  and  exit  pre- 
ponderates more  or  less.  In  the  New  Comedy,  as  shown  by  the  figures 
from  Plautus  and  Terence,  the  use  of  the  door  is  throughout  much  greater 
than  the  use  of  the  parodoi,  for  the  average  number  of  exits  and  entrances 
by  the  door  is  28  as  against  16  by  the  parodoi,  a  proportion  of  7  to  4.  In 
Aristophanes  the  number  of  entrances  (259)  overbalances  the  number  of 


USE    OF  STAGE-DOOR   IN  THE   PLAYS  57 

exits  (199)  conspicuously.  This  is  not  the  case  in  the  New  Comedy  (588: 
545).  In  fact,  the  exits  (365)  by  the  door  outnumber  the  entrances  (356) 
by  the  door.  The  reason  is  that  most  of  the  people  employed  in  a  play 
belong  in  one  or  other  of  the  houses  in  the  back-scene,  and  when  they  have 
finished  their  turn  they  go  into  the  house,  though  they  may  have  originally 
come  upon  the  scene  through  the  parodoi.  In  other  words,  the  house  is 
used  as  a  convenience  for  eliminating  the  useless  actor  after  his  work  is  done, 
because  he  can  go  into  the  house  without  any  special  motivation  such  as 
would  be  required  if  he  should  make  his  final  exit  by  the  parodos. 

The  low  averages  in  the  Menandrian  plays  are  due  to  their  fragmentary 
condition.  The  Periceiromene,  the  Epitrepontes,  and  the  Samia,  in  their 
present  form,  have  66  entrances  and  exits  through  the  door  and  32  through 
the  parodoi,  in  all  98,  giving  an  average  of  32|  for  each  play.  The  three 
dramas  now  contain  about  1400  lines,  which  is  probably  about  one-half  the 
number  of  lines  in  the  plays  as  written  by  Menander.  If  we  assign  to  the 
lost  portions  as  many  entrances  and  exits  as  there  are  in  the  parts  extant, 
then  the  plays  in  their  original  form  averaged  65J  entrances  and  exits.  This 
number  is  probably  too  large,  but  it  indicates,  at  least,  that  Menander's 
average  in  these  plays  was  conspicuously  above  the  average  of  44  in  the 
New  Comedy  as  a  whole. 

This  estimate  is  borne  out  by  the  Plautine  (Aul.  56,  Bacch.  46,  Stick. 
36)®^  and  Terentian  {Ad.  55,  And.  59,  Eun.  66,  Heaut.  50)  dramas  based  upon 
Menandrian  originals;  in  the  seven  plays  there  are  368  entrances  and  exits 
through  the  door  and  the  parodoi,  or  an  average  of  52y.  High  as  it  is,  this 
does  not  do  full  justice  to  Menander,  for  the  beginning  of  the  Bacchides  is 
lost  and  most  of  the  action  in  the  Stichus  seems  to  have  been  sacrificed  by 
Plautus.  Without  these  two  plays,  the  average  is  ovier  57.  As  the  average 
of  the  non-Menandrian  plays  in  Plautus  and  Terence  is  but  41,  it  is  evident 
that  Menander  was  exceptionally  rich  in  action  as  compared  with  the  other 
poets  of  his  day. 

Diphilus  was  also  high  if  we  may  judge  from  Plautus'  Rudens  (62)  and 
Casina  (50).  Philemon,  however,  was  low  for  the  Plautine  plays  based  upon 
originals  written  by  him  (Merc.  44,  Most.  39,  Trin.  33)  average  only  39. 
This  is  a  poor  showing  as  compared  with  Menander,  even  if  we  restrict  the 
comparison  to  the  three  Menandrian  plays  (Aid.  56,  Bacch.  46,  Stick.  36) 
of  Plautus:  the  former  have  only  116  entrances  and  exits  while  the  latter 
have  138.     Demetrius  (Uepl  'Epfirjveias,  193)   remarks  that   Menander  was 

^*  The  Cistellaria  (24)  is  so  fragmentary  that  it  has  been  left  out  of  account. 


58  HOUSE-DOOR   ON  THE  ANCIENT  STAGE 

popular  with  actors,  Philemon  with  readers  and  ascribes  this  to  the  asyn- 
detic^^ style  of  Menander  which  lends  itself  well  to  acting.  It  may  well 
have  been  due  also  to  the  greater  amount  of  action  in  Menander.  It  is 
worth  noting  that  Plautus'  lowest  play  is  the  Asinaria  (27),  which  is  based 
upon  an  original  by  Demophilus. 

The  disparity  between  the  averages  in  Plautus  and  Terence  is  notice- 
able. Since  Plautus  probably  made  less  use  of  contaminatio  than  Terence, 
one  might  be  inclined  to  ascribe  the  divergence  to  this  source,  arguing  that 
in  the  Andria  (59),  Eunuchus  (66),  and  Adelphoe  (55)  the  average  number 
of  entrances  and  exits  is  56 f,  while  the  other  Terentian  plays,  free  from 
contaminatio,  average  only  46 J.  But  the  Heauton  (50),  which  is  an  uncon- 
taminated  play,  exceeds  in  its, figures  the  Hecyra^^  (42)  which  may  be  con- 
taminated. Besides  the  Miles  Gloriosus  (53),  the  one  Plautine  play  that 
has  the  surest  signs  of  contamination,  is  lower  in  its  figures  than  the  Rudens 
(62)  which  is  probably  uncontaminated.^^  Furthermore,  the  Poenulus  (37), 
which  is  usually  considered  contaminated,  is  rather  low  in  its  figures. 

It  has  been  shown  that  the  discrepancy  between  Plautus  and  Terence  is 
not  due  to  contaminatio.  Therefore,  as  the  plays  are  not  original  in  either 
case,  the  divergence  between  their  averages  must  be  due  to  different  prin- 
ciples of  choice.  It  is  due  primarily  to  the  fact  that  Terence  liked  Menander 
and  based  upon  Menandrian  originals  a  much  greater  per  cent  of  his  plays 
than  Plautus  did.  The  average  number  of  entrances  and  exits  in  Terence's 
Menandrian  plays  (And.  59,  Eun.  66,  Ad.  55,  Heaut.  50)  is  57J,  while  the 
other  two  (Hec.  42,  Phor.  47)  average  only  44^.  It  is  therefore  fair  to  say 
that  Terence  wanted  plenty  of  action,  and  that  his  choice  of  Menander  was 
in  part  at  least  determined  by  the  fact  that  Menander  was  high  in  action. 
Plautus  was  careless,  apparently  taking  the  first  play  that  came  to  hand. 

VOCABULARY  USED   IN   ENTRANCES  AND   EXITS 

We  now  present  in  tabulated  form  the  words  and  expressions  used  in 
connection  with  entrances  upon  the  scene  of  action  and  exits  from  it  both 
through  the  door  in  the  back-scene  and  by  the  parodoi.  These  are  grouped 
alphabetically  and  show  the  frequency  of  each  word  and  expression  in  each 
author  and  the  frequency  of  the  different  words  and  expressions.     For  Aes- 

"'  On  Asyndeton  in  Menander,  see  A.  Warren  Wright,  Studies  in  Menander,  1911, 
pp.  85  ff. 

««  See  Dziatzko,  Rh.  Mus.  XXI,  pp.  80  ff. 

*^  See  Cornelia  C.  Coulter,  "The  Composition  of  the  Rudens  oi  Plautus,"  Clas, 
Phil.  (Jan.,  1913),  pp.  57  ff. 


USE  OF  STAGE-DOOR  IN  THE  PLAYS  59 

chylus,  Sophocles,  Euripides,  Aristophanes,  Menander,  Plautus,  Terence,  and 
Seneca  the  fragments  have  been  consulted  as  well  as  the  extant  plays.  In 
these  tables  we  have  enumerated  under  the  heading  ''fragments"  all  other 
words  and  expressions  for  entrances  and  exits  that  are  found  in  Nauck's  and 
Kock's  collections  of  Greek  tragic  aud  comic  fragments  and  Ribbeck's  col- 
lection of  Latin  dramatic  fragments. 

Since  it  would  be  tedious  and  unnecessary  to  enter  into  a  detailed  dis- 
cussion of  each  word  and  expression  found  in  these  tabulations,  we  shall 
briefly  state  only  the  general  results  that  may  be  deduced  from  them. 

I.  Entrance  upon  the  scene  of  action  through  the  door  in  the  back- 
scene:  kXdelv  (67),  levac  (46),  and  ^aiveiv  (25),  usually  with  some  form  of  be, 
occur  most  frequently  to  denote  the  actual  entrance.  These  verbs  are  some- 
times accompanied  by  bevpo,  eKeldev,  evbodev,  dvpa^e,  oiKodev,  irapoiBe,  wapos,  irpbade, 
and  a  few  other  adverbs.  We  also  find  4)kpeLv  (66)  and  Xdireiv  (40);  the 
former  usually  implies  that  the  entrance  is  to  take  place  (e.g.  Aristoph. 
Eq.  95:  dXX'  k^heyKe  p.oi  raxecos  olvov  xoa.  cf.  Eq.  110,  Nub.  19);  the  latter 
always  indicates  that  the  entrance  has  already  occurred  (e.g.  Eur.  Troad. 
176:  otfiOL.  rpoixepa  aKTjvas  eXiirov.). 

II.  Exit  from  the  scene  of  action  through  the  door  in  the  back-scene: 
levaL  (106),  eXdelv  (103),  ayeLv  (46),  and  ^aiveiv  (27),  usually  with  some  form 
of  els  («,  e'iao),  eao),  hros),  are  generally  used.  Sometimes  €kto8o)v  is  used 
with  them. 

III.  Entrance  upon  the  scene  of  action  by  the  parodoi:  ekOelv  (73), 
riKeLv  (56),  (TTelx€Lv  (31),  Ukadai  (16),  and  ^alveiv  (15)  are  generally  used, 
usually  with  the  preposition  wpos.  In  connection  with  the  verbs  aao-ov, 
devpo,  ttclXlv,  irdpos,  TreXas,  and  t\tj<tlov  sometimes  occur. 

IV.  Exit  from  the  scene  of  action  by  the  parodoi:  Ikvai  (89),  kXdelv  (34), 
o-retxetv  (29),  x^P^i^  (23),  and  ayetv  (19)  are  generally  employed.  The  prep- 
osition usually  used  is  awo.  There  sometimes  occur  with  these  words 
tKeldev,  kvdevSe,  dvpa^e,  and  x^P^-^- 

As  one  would  expect,  then  els  (into)^^  and  k  (out  of)^^  are  used  with 
reference  to  the  house,  and  Tpos  (to)  and  cltto  (from)  with  reference  to  the 
parodoi. 

^^  See  Droysen,  Quaestiones  de  Aristophanis  re  scaenica,  pp.  8  f. :  "Exemplis 
primo  loco  (I  a  et  b)  congestis  facile  est  intellectu  verbis  elatkvai, — epx€<rdat, — fialvecv — 
a7€H'  KTt  histriones  domum  quendam  intrantes  scaenicam  se  relicturos  esse  indicare, 
e^ievat;— epx€<r0at — &7€tv  /ere  verbis  se  in  pulpitum  prodire  ex  aedibus  egredientes,  simi- 
lemque  eicrw  et  e^w  adverbiorum  usum  extare,  evhov  vocabulo  'post  scaenam'  scilicet  'in 
aedibus'  significare."  See  also  Bodensteiner,  "Szenischen  Fragen,"  Jahr.  Clas.  Phil. 
Suppl.  19,  p.  652,  who  adopts  Droysen's  conclusions. 


60  HOUSE-DOOR  ON  THE  ANCIENT   STAGE 

The  meaning  of  els  (into)  and  k  (out  of)  prevent  their  being  used  ordi- 
narily in  connection  with  entrances  and  exits  by  the  parodoi  respectively, 
because  in  this  connection  there  is  nothing  to  ^'go  into"  or  "go  out  of.'^ 
In  the  Greek  drama  there  are  many  passages  in  which  els  and  k  are  used 
as  exceptions  to  the  general  rule  that  irpos  and  awo  are  employed  respec- 
tively in  entrances  and  exits  by  the  parodoi.  These  exceptions  fall  into  two 
categories:  I.  proper  uses;  II.  improper  uses.  The  prepositions  els  and 
eK  are  used  properly  when  they  cannot  be  taken  to  refer  directly  to  enter- 
ing or  leaving  the  space  in  which  the  actors  are  performing,  i.e.,  the  orchestra. 
They  are  used  improperly  when  they  cannot  be  taken  to  refer  to  anything 
but  the  orchestra.  Such  instances  may  be  called  improper  because  they 
violate  the  illusion,  much  as  if  a  modern  actor  should  refer,  either  directly 
or  by  implication,  to  the  fact  that  he  is  on  the  stage  (e.g.;  by  speaking  of 
^'coming  on"  or  "going  off"  in  connection  with  his  entrance  or  exit.  Proper 
uses  of  els  and  k  are  not  uncommon  in  the  drama  as  a  whole;  improper  uses 
would  not  be  expected  to  occur  in  tragedy  and  as  a  matter  of  fact  do  not 
occur  there;  they  arje  confined  to  Aristophanes,  where  the  illusion  matters 
little  to  the  playwright. 

Since  all  examples  outside  of  Aristophanes  belong  to  I.,  whereas  of  those 
in  Aristophanes  some  belong  clearly  to  I.,  some  to  II.,  and  some  fall  on  the 
line,  it  will  be  better  first  to  discuss  and  classify  as  instances  of  I.  all  those 
outside  of  Aristophanes  and  then  discuss  those  in  Aristophanes  together. 

Under  I.  we  shall  group  the  cases,  not  according  to  the  preposition  used, 
for  that  is  not  the  significant  thing,  but  according  to  the  way  in  which  the 
use  of  els  or  k  is  justified.     Under  I.  we  make  these  groups: 


(a).  The  motion  is  thought  of  as  ending  in  or  starting  from  the  house: 
Aes.  Eum.  179:  e^oi  KeXevco,  rHovbe  doifxarcov  raxos  \  x'«'P€tr€,  airaXkdaaeade  fxav- 
TiKcav  fxvxoiiv.  Eur.  Bac.  1165  ff.:  d\X*  ela-opcb  yap  es  do/jiovs  bppLWfievq  \  Hevd'edis 
*kyavri  nrjTep'  ev  8LaaTp6<f)OLS  \  ocraois.  Cyc.  85  ff.:  Sil.  6pcb  irpos  d/crats  vaos 
'EXXdSos  (TKa<f)Os  |  accotttjs  r'  avaKTOS  aifv  (TTparrfKaTxi  tlvI  |  arelxovTas  ets  t65'  tvrpov. 
Hippol.  659  f . :  vvv  8'  U  Sofxcov  tx'ev,  ear   &v  eKdrj/nos  x^ovos  Orfcrevs,  aweLjiL. 

(b).  The  motion  is  thought  of  as  beginning  or  ending  where  the  action 
is  going  on,  but  the  delimitation  of  place  necessary  to  justify  the  use  of 
the  preposition  els  or  k  is  supplied  by  the  playwright  (cases  like  es  TeSov, 
els  t6v  T&irov,  es  olkpotttoKlv ,  eK  rccv8e,  etc.) :  Aes.  Prom.  1 :  x^o^<^s  Mc^  «  -niKovpov 
^KOfxev  Tredov.     Sep.  239  ff. :    TroTi(t>aTov  KXvovaa  irkrayov  avajxiy jxa      rap^avvo) 


USE  OF  STAGE-DOOR  IN  THE  PLAYS  61 

(f>6^q)  Tav8'  es  clkpotttoKiv,  \  tL/jllov  edos,  iKo^av.  Prom.  1058  ff. :  dXX'  oivv  vfiels  7' 
at  Trr]iJLO(TvvaLs  |  dvyKanvovaaL  rats  rovBe  tottoov  \  nera  Trot  x^P^l^*  €k  roivbe  Oocos. 
Eur.  Orest.  1311  ff.  Ch.  crLydre  (nydr  .  riadoiM'qv  ktvttov  tlvos  KeXevdov  elaireaovTOs 
6Lii<f)l  dcofiara.  El.  co  (piKraraL  yvvalKes,  els  fiecTov  <f)6vov  \  ^8'  ^Epfxiovrj  irdpecm. 
Heraclid.  257:  <tv  8'  k^opL^e,  Kq,T  eKeWev  a^ofxev.  Rhe.  595  f. :  irol  8ri  XuTrovTes 
TpoiLKO)v  eK  rd^ecov  \  x^P^tre.  Hippol.  53:  e^03  Tcbv8e  ^-qcroixai  T&ircav.  Cyc.  99: 
Od.  ^po/jLLov  TTpXiv  eoiyfiep  els  ^aXelv.  Men.  (Korte,  2d  ed.  fah.  inc.  p.  211,  11. 
34  f .) :  Lc^nev,  cos  /cat  iieLpaKvWlojv  oxXos  \  els  tov  totov  tls  epxeB*  viro^e^pevnepcov. 
Soph.  Oed.  Col.  36  f. :  irplv  vvv  rd  irXeiova  l(TTOpelv,  e/c  Triu8*  Upas  \  e^eXOe.  1.  45: 
cos  ovx  e8pas  yrjs  Tri(r8'  dv  e^eXBoip.'  ert.  11.  176  f. :  ov  rot  firjTOTe  a  €/c  rcoj^S' 
eSpdvojv,  I  CO  y'epov,  aKovrd  rts  a^et.  1.  233:  av  8e  Tcbv8'  eSpdvcov  ttoXlv  eKTOiros. 
11.  263  f . :  Kafiotye  irov  ravr  earlv,  otrLves  (Sddpoiv  [  eK  rchvbe  p.'  e^dpavres  elr  eXav- 
vere.  1.  824:  x^P^^j  ^^^'j  '^k^  Bdaaov.  1.  826:  iplv  dv  elrj  TrjvSe  Kaipos  e^dYeti/  | 
aKOvcrav,  el  deXovaa  p,ri  TTopeverac.  11.  866  f. :  aj  KaKiare,  ypCXbv  bp,p  dTOcnrda'as  \ 
irpos  op.iia(nv  rots  Trpoadev  e^otxet. 

(c).  The  delimitation  is  easily  supplied  by  the  audience  (k  rTJs  TroXecos  is 
understood).  Soph.  Oed.  Col.  11.  47  f. :  dXX*  ov8'  ep.oi  tol  Toh^avidTdvai  TroXecos  | 
5tx'  eo-rt  Odpaos.  Elec.  75 :  vch  8'  e^L/iev,  Eur.  Troad.  1047  f . :  Xeyco  8e  TrpocrTroXotcrt 
TTpos  TpvfjLvas  v'eoiv  I  T'qv8*  eKKop.l^eLv.  Phoen.  615:  e^Lp.ev.  1.  759  f . :  Trju  8b(nv  5' 
exeyyvov  \  T7]v  irpoade  Trotco  vvv  eT*  e^oSoLs  efxals.  Ale.  609  f. :  vpels  8e  Trjv  davovaav, 
cos  vopl^erai,  \  xpocretxar*  e^iovaav  v(TTdrr]v  686v. 

(d).  The  following  passages  contain  eKTro8o}v  and  therefore  they  are  not 
to  be  regarded  as  having  a  technical  or  scenic  significance:  Soph.  Antig. 
1321:  ayere  p,'  ort  rdxto'T*,  dyere  p  eKTro8wv.  1.  1339:  a7otr*  dv  pdraLov  dv8p' 
eK7ro8cov.  Eur.  Bac.  1148  f. :  eyoi  pev  ovv  Tfi8'  eKiro8(j)v  rfj  ^vp(f)Opq.  \  aireLpi.  Hee. 
52  f . :  yepaiq.  5*  eKiro8oiv  x^PV^^f^^'^  ^^Kd^-Q. 

(e).  Two  passages  contain  kros  which  is  practically  the  equivalent  of 
eKTro86iv  and  therefore  is  not  to  be  regarded  as  having  a  technical  or  scenic 
significance.  Soph.  Oed.  Rex  676:  ovkow  p  edaei^s  KdKTos  el;  Ajax  369:  ovk 
e/cros;  OVK  dxj/oppov  eKvepel  Tr65a; 

(f).  One  passage  contains  cTret(ro5os,  but  it  has  no  scenic  connotation: 
Soph.  Oed.  Col.  728  ff. :  dv8pes  x^ows  r^orS'  euyei'ets  oUrjTopes,  \  opo)  tlv  vpds 
oppdroov  elXr](l)6Ta  |  ^6(3ov  veooprj  ttJs  epijs  kweL<r68ov. 

ARISTOPHANES 

I 

(a).  Not  of  scenic  connotation  as  there  is  something  to  delimit  some 
particular  part  of  the  stage  (e.g.   es  riiv  dyopdv) :  Eq.  146  f . :  dXX'  681  Tpotr- 


62  HOUSE-DOOR   ON  THE  ANCIENT  STAGE 

€px€rat  cba-Tep  Kara  deov  eis  ayopav.  Ach.  725:  hravda  ix-qre  (TVKOcfyavTrjs  elalTca. 
1.  839:  KCLV  ela-iri  tls  KTrjaias.  11.  876  f . :  oxrTrepet  x^'-f^^^  ^P^  \  opvLdlas  es  tyjv 
ayopav  eKrjXvdas.  824  f . :  ayopavofiOL,  \  tovs  avKocjiavTas  ou  Ovpa^e  e^elp^ere.  (In 
the  passages  just  quoted  from  the  Archarnians  the  argora  of  Dicaeopolis 
is  referred  to.) 

(b).  Av.  991:  oJjkovv  erepcocre  xP^<^Mo^oT'70"€ts  eKTpex(f3v.  In  this  passage  U 
has  no  scenic  connotation  but,  as  erkpcaae  shows,  is  equivalent  to  k  rovSe  tov 
TOTTov,  In  Vesp.  891:  el  tls  Bvpa<n.v  riXLaa-rrjs,  da-iro)  may  be  formulaic,  the 
language  being  borrowed  from  the  courts  without  reference  to  its  exact 
appropriateness. 

II 

(a).  Improper  use,  for  there  is  no  agora  and  no  limitation  of  the  scene 
other  than  the  boundaries  of  the  orchestra:  Pac.  1050:  ovk,  aWa  Kara  riiv 
Kvlaav  ela-eXrjXvdev.  This  refers  to  Hierocles'  entrance  upon  the  scene  of 
action.  Plut  872  f. :  cos  o-o^apds,  co  Aafxarep,  elcrekrjXvdev  \  6  crvKOcfyaTrjs.  Av. 
1168  f. :  dW  ode  (jivXa^  yap  rccv  eKeWev  ayyeKos  \  kadel  irpos  '^fxas  8evpo  Trvpplxv^ 
^Xewajv.  This  use  of  eadel  seems  to  be  scenic,  since  the  Guard's  entrance  is 
just  like  any  other  entrance  of  a  messenger. 

(c).  Improper  use :  the  passages  are  from  the  words  of  the  chorus.  Either 
els  Tr]v  dpxvo'Tpav  or  eK  ttjs  bpxv^rpas  is  to  be  supplied:  Vesp.  1498  ff. :  €t  tls 
Tpayoobbs  (})r]aLv  opxeladaL  /caXcos  |  e/iol  8LOpxv(^<>/j,evos  evBab'  elatTco.  Vesp.  1535  f. : 
dXX'  e^ayeT,  el  tl  <f)LXelT'  dpxovjJLevoL,  Ovpa^e  \  17/xds  Taxv-     Nub.  1510:    riyelaO'  e^ca. 

(d).  Improper  use,  as  k  can  hardly  be  explained  otherwise  than  by  sup- 
plying eK  Tris  bpx'hcTTpas  or  eK  tov  deaTpov.  Eq.  1407:  KaKelvov  €/c</)eperco  tls  cos 
eirl  Tr)P  Texvrjv.  Ach.  1139:  eydi  de  doipiaTLOv  Xa^oov  e^epxopLaL.  1.  1222:  Ovpa^e 
p.*  e^ev'eyKaT   es  tov  IltTrdXou. 

ROMAN  DRAMA 

I.  Entrance  upon  the  scene  of  action  through  the  door  in  the  back-scene: 
ire  (181),  egredi  and  progredi  (60),  ferre  (41),  and  ducere  (45)  are  generally 
used.  In  connection  with  these  verbs  some  form  of  ex  is  usually  employed 
but  ahs  (ah,  a)  is  also  frequently  found.  For  as  (foris)  often  occurs  in  con- 
nection with  the  verbs.  Hue  (to  this  place),  illim,  (thence),  exinde  {thence), 
hinc  (thence),  istinc  (thence),  and  intus  (from  within)  are  also  found. 

II.  Exit  from  the  scene  of  action  through  the  door  in  the  back-scene: 
ire  (495),  ducere  {S9),  sequi  (84),  venire  {47),  ferre  (37),  and  mittere  (33)  are 
usually  employed.  Intro  and  in  (sometimes  intus)  are  very  often  used  in 
connection  with  these  verbs.  Hinc  (hence)  and  ad  se  (to  oneself)  often  occur 
and  hac  (this  way)  is  sometimes  found. 


USE  OF  STAGE-DOOR  IN  THE  PLAYS  63 

III.  Entrance  upon  the  scene  of  action  by  the  side-entrances:  venire 
(305),  ire  (103),  esse  (58),  and  ducere  (53)  occur  most  frequently,  usually  ac- 
companied by  ad  (ac) .  Hue  (to  this  place)  is  frequent  and  there  also  occur 
hac  (this  way),  advorsum  (to  go  to  meet),  eccum  (behold  him),  and  some 
other  such  words. 

IV.  Exit  from  the  scene  of  action  by  the  side-entrances:  ire  (423),  duc- 
ere (40),  sequi  (4:0),mittere  {S5),fugere  (24), and /erre  (20)  usually  occur.  The 
preposition  generally  used  is  some  form  of  ah.  Hinc  (hence)  is  frequent; 
hac  (this  way)  is  now  and  then  used. 

So  then  in  the  Roman  drama  some  form  of  in  (in,  intro,  intus)  meaning 
''into"  and  ex  or  e  (out  of)  are  usually  used  with  reference  to  the  house  and 
ad  (to)  and  ah,  abs,  or  a  (from)  are  employed  with  reference  to  the  side- 
entrances. 


I 


64 


HOUSE-DOOR   ON  THE  ANCIENT  STAGE 


/.  Words  and  expressions  used  at  the  entrance  of  an  actor  upon  the  scene  of 
action  through  the  door  in  the  hack-scene  in  the  Greek  drama 


&yeLv  (12) 

a7€t^    CLTTO 

ayeiJ'  e/c 

ayeLV  wpo 

€^d7€ti/ 

e^dYeti/  eK 

h^aynv  Ovpa^e 

atacreLv  (6) 

at(T<T€LV 

ataaeiv  e/cros 

k^alaaeLv 

viralcraeLV  5ta  dvpcov 

a'ipeLv  (4) 

^alp€LV 

afiel^ecv  (3) 

afiei^eLV  +  Acc 

biap.d^eiv  Sco/idrcoi'  bbov .  . 

laravaL  (3) 

avLcrravai 

a<f)L<TTavaL  aTeyrjs 

k^aVLffTCLVaL 

iL7raK\a(T<T€Lv  (1) 

apwa^eLv  eK  ttJs  oUlas  (1) .  . 
a4>L€vaL  (1) 

fia8l^€t,p  (2) 

0a8l^€LV  dvpa^e 

0a8i^€LV  ^u) 


AES. 


SOPH. 


I     ^      1 
1 


EUR.       ARIST. 


MEN.        FRAGS. 


USE   OF  STAGE-DOOR   IN  THE   PLAYS 


65 


^alveip  (25) 
^aiveLV  eK  .  .  .  . 
^aiveiv  e^co.  ,  . 
^alveiv  Trpocrde. 
eK^aiveiv 

kK^alvetv  Trpo.  . 
Kara^aiveLV .  .  . 
irpo^alvtiv  €^. . 
VTrep^aiveiv  .  .  , 


kK^L^a^€lV  (2) 

eKbpavaL  (1) 

eKKVKkeiv  (3) 

eKKVirreLV  (l) 

e/cXaTrdfeti'  (1) 

€K\LHTraveLV  (2) 

kKiTLTTeiv  dvpa^e  (l) 

kKTTTjddv    (l) 

eKTroTaadai  (l) 

eKTTTrjo-o-eLV  (l) 

eKTpuTrdv  (1) 


tKavvuv  (4) 
e\avv€Lv  eK. 
e^eXavveLV  . 


kXdelv  (67) 

kXdelv  diro 

eXdelv  eK 

eXdelv  e^co 

eXdelv  Bvpalov .  .  .  . 

ekSelv  irdpos 

ekdelv  irpos  e^odovs 

e^eXdelp 

e^eXdelv  eK 


4 
1 

2 

12 


ARIST. 


26 

1 


66 


HOUSE-DOOR  ON  THE  ANCIENT  STAGE 


irapeXdelv 


k^aWeadaL  (l)  . 
e^eprjfiovy  (2)  .  . 
€^Ik€lv  (1)  .... 

e^odoL  (7)  

k^odoLTTOpelp  (1) 


epireiv  (4) 

e^epweLv 

k^epireLV  eK  .  .  .  . 
e^epweLV  dvpa^e. 
epirv^eLV  dvpa^e 


eppeiv  airo 


5(1). 


riK^LV  (4) 

7iK€iv  els  irpovoiTTLa. 

TJKeiv  eK 

^K€LV  eKeWep 

TraprjKeLV  evbodev  €^co. 


edv  (3) 

kiSelv 

€Kdelv  evbodtv 
delv  e^  .  .  .  . 


Boa^eLv  devpo  (1). 

Ihai  (46) 

OLTnevat  airo  ,  . 

OLTnkvaL  €K  .  .  .  . 

awLtvaL  evbodtv 
dirievaL  dvpa^e. 
k^LevaL 


AES. 


SOPH.        EUR. 


ARIST. 


1 

1 

10 


MEN. 


USE   OF  STAGE-DOOR   IN  THE   PLAYS 


67 


SOPH. 


EUR. 


ARIST. 


FRAGS. 


e^ihaL  €^co 

e^tevaL  dhpa^e 

k^ikvoLi  wdpoide 

ikvai,  eK 

UvaL  eKTos 

TTpoikvai  dvpa.cn  irpos. 
wpouvaL 


KoKelv  (17) 

KoKelv  evSoOev.  .  . 

KoXelv  'i^(i3 

KoXelv  eir'  e^odois 
KoXelv  dvpa^e  .  .  . 
iKKokdv 


KOjii^eiv  (9) 

eKKOiil^eLV , 

eKKOfxl^eLV  e/c  .  .  , 
KOfil^eLv  eK  .  .  .  , 
Koiil^uv  evboOev. 

KOfJLL^eLV   €^.  .  . 


\aiJ,^dv€LP  (6) 

\aix^av€iv  evdodev  .  ... 

\afjL^dv€LV  eK 

TTpoKoLH^aveLV  iroba  eK 

Xv^ecTdaL  e^o)  (1) 

XelireLV  (40) 

eKXelTeup 

eKXeiireiv  eK 

XeiweLv 

Xeiweiv  devre 

XeLTreiv  eK 

KaroKeiTreiv 

TTpoXeiireiv 


1 

1 

12 

1 
18 
1 
2 
1 


68 


HOUSE-DOOK  ON  THE  ANCIENT  STAGE 


SOPH. 


fjiokelv  (6) 

fjiokelv 

fioKelv  8evpo 

HoKelv  €/c 

yLo\dv  c^ 

iwKtiv  TpobpoyLos 

oiarpav  eK  doficov  (1)  .  .  .  . 

otx^O^CLL  €K  861MOOP   (2)     ... 

olx^^lv  dvpaxov  (1) 

bpiiav  (3) 

h.<f>opp.av  eK 

k^opfidv  airb 

naTelv  BwyLaTWv  irvKas  (1) 

TefiweLV  (22) 

SvaireiJLWTOs  e^ 

kKTrkfjLTetv 

iKTrkpLireiv  €kt6s 

tKirkinrHV  irpb 

irkiXTTtiv  airo 

TrefiTetv  €k 

irkinreiv  iroba  e/c 

Teinretv  e^co 

irpOTrklXTTHV 

irepdv  (14) 

eKTrepajjLa  dojfidrwv  .  .  .  . 

eKwepdv 

TT€pdv  +  Acc 

irepdv  ttTTO 

irepdv  eK  axpoppos 

irepdv  c^co 

irepdv  viro  aKtivrjs  irbba 

iropeveadai  (7) 

eKTTOpeveffB  ai 


EUR. 


ARIST. 


MEN. 


USE   OF  STAGE-DOOR  IN  THE   PLAYS 


69 


EUR.     j  ARIST.       MEN. 

i 


FRAGS. 


eKTTopeveadaL  e^c^dev  . 

■Kopeveadai  e/c 

TOpevecrdai  e^ 

pLTTTeLV   eKTOS    (l) 

aeveadaL  (4) 

eKaeveadac 

aeveadaL 

(Teveadat  a4>    earlas  . 
(TeveadaL  eK 

(TTeix^iv  (5) 

(TTelx^Lv  eK 

(Trelx^LV  Trapotdev  .  .  . 
(TTeix^LV  wdpos 

(TTelx^LV   TTpO 

(TTelx^LV  TTpos  e^odov. 

areWeLV  (2) 

aToareWeLV  eK 

aTeWeiv  eK 

o-Tpe<f)€LV  eK  TToba  (l)  .  . 
(jvve^aipelv  (l) , 

rpexeiv  (2) 

eKTpkxeiv 

viravTia^eLV  (2) 

vireKbveadaL  e^co  (1)  .  .  . 

uireKTWeo-dai  (l) 

uwep^aWeiv  iroda  (l)  . 

(fyalveadai  (3) 

<f)alveadaL  e^co 

(fyaiveadai  bevpo  irpos 
<t>alveadaL  irpb  dvpojv 


70 


HOUSE-DOOR   ON   THE  ANCIENT   STAGE 


AES. 


SOPH. !     EUR. 


ARIST. 


MEN. 


FRAGS. 


^kp€lV   (66) 

€K<t>kptlV 

kK<l>ep€Lv  evdoOev 

eK<f)€p€LV  e^co 

kK<f>ep€i,v  dvpa^e 

€K<f>ep€LV  01koB€LV 

kK(f)opa 

eK<f>p€lv 

<t>ep€Lv  eK 

^ep€Lv  €v8odev 

<f)kp€iv  ?^a) 

<j>€p€iv  dvpa^e 

<f)pov8ov  (2) 

<f>pov8ov  aro  bojjwv 

(f)pov8ov  ev8o0€P 

<t)€Vy€LV  (5) 

(j>€vyeLv  86fjLi*)v 

<t>€VyeLV  €K 

<f)evyeLv  evSodev 

<f>evyei.v  e^w 

Xa)p€tJ/  (8) 

irpoxit^p^lv  €K 

Xcopcli'  kK 

xc^pelv  eKTos 

Xoopilv  Ovpa^e 

Xi/^pelv  evBodev 

XOiptlv  c^co 

XOip^lv  irpbs 

XCijpctJ'  CTT*  €^65c})  TOiv  tvdodev 

uidelv  t^o)  (1) 


26 
2 

2 

1 

3 
1 
3 
3 
1 


11 


USE  OF  STAGE-DOOR  IN  THE  PLAYS 


71 


II.  Words  and  expressions  used  at  the  departure  of  an  actor  from  the  scene  of 
action  through  the  door  in  the  hack-scene  in  the  Greek  dramas 


AES. 


SOPH. 


EUR. 


ARIST. 


MEN.        FRAGS. 


ayetv  (46) 

ayeLV  eis 

aytLV  elffu) , 

ayeiv  ela-cc  eKiroddiv. 

ayuv  €s 

ay€LV  ecoj 

kirayeLV 

eladyeLV 

el(TayeLV  eto'co 

eTravdyeLV  els 

eireLadyetv 

KCLTdyeiv  ets 

irapdyeLV  etcco  .  .  .  . 


dBpol^eiv  ets  (l) 
aXpecrdai  eacj  (1) 


aL(T(T€LV   (3) 

eiaaiaaeiv  els 
eTrala-aeLP  es .  . 
Trapai<T<TeLV  es 


dnel^eiv  (4) 

dfiel^eLV  irpodvpa .... 
dfiel^eiv  TTuXas 


aLvaK\lveiv  els  (l)  ... 
dwopplirTeLV  es  (1)..  .  . 
OLTToaTTivaL  eKiro86}v  (l) 
d(f>LKe(rdaL  els  (1)  .... 


^adl^eLU  (8) 
^a8i^€LV  . 


72 


HOUSE-DOOR   ON   THE  ANCIENT  STAGE 


EUR.       ARIST. 


MEN. 


^abi^tLV  €<s 

^a8i^€LV  ettrco 

^adi^etv  es 

^alv€LV  (27) 

(3alveLV  eis 

^alveiv  d(T03 

^a'lVtLV  €$ 

iSaiveLV  eaoo 

^alveiv  Kar  avTiBvpoiV. 
^alvetv  Kevdos  oIkcov.  .  . 
(3aLV€Lv  viroareyovs  .  .  . 

ela^aiveiv 

kjji^aiveLV  es 

kiri^aiveiv 

Kara^alveLV 

Kara^alveLV  etco) 

VTrepl3alv€LV 

dL(j)KeLV  els  So/jlovs  irbba  (1) 
bovvai  eacodeu  (1) 

bveiv  (4) 

bveuv  els 

elabveLV  es 

ela^LOL^eo-dai  (l) 

elcboxal  bbfxojv  (1) 

eiaeppetv  (3) 

elaeppeiv 

eicreppeiv  es 

eiadelv  (l)    

eiaKoKatiaaBai  (1) 


USE   OF  STAGE-DOOR   IN  THE   PLAYS 


73 


AES. 

SOPH. 

EUR. 

ARIST. 

MEN. 

FRAGS. 

elo'KVKKeli'  (1) 

1 
1 

1 
3 
1 

1 
1 

3 

1 
1 

1 

1 
1 

1 
1 

1 

1 

12 

1 
1 

7 

1 
9 

2 
3 
1 

1 
1 

5 

1 

1 

1 
1 

1 

13 
1 

3 

1 

1 

1 
1 

5 
2 

1 

el(TKVK\elv  es  (1) 

etcTodoi  (6) 

elcroLXV^lv  (1) 

dairaUiv  (3) 

€l(TTal€LV 

el(nrai€LV  es 

kireLaTraleiv  ks 

elcfTreTacrdaL  (1) 

elaTTjddv  (1) 

elcnrXelv   (1) 

el(T<f)OLTdLV  ks  (1) 

eXBelv  (103) 

dveXdelv 

ciTreXdelu  elao) 

direXBelv  els 

CLTreXdelv  eKTro8o)v 

elaeXBelv 

17 

elaeXdelv  els 

elueXOelv  es 

elGeXBelv  ecroj 

eXdelv  els 

eXBelv  etaco 

eXBelv  evrbs 

eXBeXv  es 

eXBelv  ecrco • 

eTreXBelv  dofxovs  .... 

eireXBelv  els 

eireicfeXBeZv 

irapeXBelv  So/jlovs 

irapeXBelv  boifxa 

irapeXBelv  etcrco 

TraoeXBelv  ecroj 

74 


HOUSE-DOOR   ON  THE  ANCIENT  STAGE 


SOPH.   I     EUR.     !  ARIST. 


FRAGS. 


(TVveLaeXdelv 
vireLffeXdelv  . 


ipfxaTl^€LV  es  olkovs  (l) 


epireLV  (9) 

d<f>€pTr€LV 

ipT€lV 

'ipTTtiv  B.Trodev  . 
epweLP  etao).  .  . 

epireiP  ks 

TrapepireLV  etaoj. 


kadopelv  (l)  .  . 
rjyeicrBaL  es  (l) 


riKeLV  (7) 
T]K€i.v  els 
^K€LV  es  . 


thai  (10) 

a<f>LevaL  es  oXkovs 

teadai  ecrco 

KoBievai  ay Kvpav  ev  So/jlols 

KoBievai  eis  86novs 

KoBievaL  evbov  

KaBikvai  es 

fxedievaL 

txedievai  iroba  et<Tco 


thai  (106) 

CLTikvaL 

CLTnevai  eKwodoiP 

elatevat 

eiaievat,  els  ...  . 
elcnevai  etaco.  .  . 
elcLevat.  es 


USE   OF   STAGE-DOOR   IN   THE   PLAYS 


75 


AES. 

SOPH. 

EUR. 

ARIST. 

MEN. 

1 

1 

5 

2 

1 

1 

2 

1 

1 

1 

•  1 

1 

1 
1 
1 

1 

1 

1 

1 

1 

1 

1 

1 

4 

1 

1 
1 
1 

1 

1 
2 

3 
1 

1 
1 

1 

2 
2 

1 

1 

1 

2 

3 

1 
2 

1 

1 
2 

1 
3 

.FRAGS. 


LevaL 

levaL  els 

levau  etaoj 

thai  kv 

Ikvai  eiri 

IhaL  es 

Uvai  ecoi 

ikvai  oIkovs  /card  (7r€7as 

Trapikvai  ets .  . 

irapikvai  ecrco 

UeLV  (3) 

iKeiv  els  

iVetf  es 

KOfii^etv  (10) 

elaKOixi^eiv 

KOjjiL^LV  els 

KOfxl^eiV  elaoi 

KOfxi^eiv  es 

KOfxl^eLP  e(T03 

KpvTTTeLP  U7r3  fiekaSpov  (l) 
KvXivbeLV  etVco  (3) 

\ap,^aveLV  (17) 

Xafx^dveuv  els  ....'.  . 

\an^aveiv  etVoj, 

Xa/jL^dveLV  ev8ov 

vwoXaii^dveLV  etao)  .... 
dvaXafjL^dveLP  evdov .... 

IxoKelv  (18) 

fjLoXelv 

IJLoKelv  els 

p,o\elv  elcroi 

fjLoXelv  es 

HoKelv  ecTcc 


76 


HOUSE-DOOR  ON  THE  ANCIENT  STAGE 


vel<rdaL  eis  arkyos  (l) 
vbcTTOS  cs  dojjiovs  (l)  . 
otx^(T6 ai  €ts  (l)  .... 
o/jLaprelv  els  (2)  .... 
dpfiCLV  €ts  (2) 


irkixTreiv  (13) 

airoirkyiTreLV  etaoj 

el(TT€/lTeLV    .... 

elaTre/jLireLV  els.  . 


Tre/jLTeLV  €ts  .  .  .  . 

TefjLTreiV  es 

TpOTre/jLineLV  els 
TpoTrefiTeLV  es  . 
vireKTrepLTreiv  es .  . 


irepav  (2) 
irepav  dSfiovs 
irepav  etaco  . 


TTLTTeLV  (5) 

eldirLTTeiv .  .  . 
elaTTLTTTeLV  es 

kflirlTTTtlV    .  .  . 

e/jLTriTTTeLv  es  . 

OVVeaTTLTTeLV . 


TTOieiV  eLffO) 


(1) 


TopevecrdaL  (3) 

elairopevecrdaL  oiKabe 
TTopevecrdaL  es  oIkovs 
TTopeveadaL  crrey as  . 


AES. 


(Twevdeiv  (2) 
(TirevbeLV  els .  . 
(Tirebbeiv  etffoj 


SOPH. 


EUR. 


USE   OF  STAGE-DOOR   IN  THE   PLAYS 


77 


AES. 


SOPH.        EUR. 


ARIST. 


MEN. 


FRAGS. 


(jTelx^iv  (12) 

OLTTOdTdx^iv  ettro)  .  . 

areix^LV  etcco 

(TTelx^LV  ecro) 


rpexeiv  (8) 

elarpex^iv .  .  .  .  . 
el(TTpex^LV  els  . 
elcTTpeXtLV  etcro) . 
iraparPex^LV  ks 
/neTarpex^LV  .  . 
Tpkx^t-v  eld 03 .  . 


VTreKrideadaL  els  (l) 
virep^dWeLV  irvXas 


(f)ep€LV  (22) 

CLTTOcfyepeLV 

el(T<i)epeLV , 

eTTLcfyepeLV  bbjioicn 

<f>epeiv  els 

4>'epeiv  etao) 

(pepeiv  es 


4>vyelv  els  (2) 


xcopetz^  (19) 

XwpeZ^  els 

Xcopeti'  elVco  .  .  . 
Xcopetj'  evdairep. 
Xcopelv  evTOS  ... 
Xcopelv  es  .... 
XOi^pelv  eao) .  .  .  . 


(hdelv  es  Tr]v  oUiav  (l) 


78 


HOUSE-DOOR  ON  THE  ANCIENT  STAGE 


///.  Words  and  expressions  used  at  the  entrance  of  an  actor  upon  the  scene  of 
action  by  the  parodoi  in  the  Greek  drama 


ayeiv  8evpo  (l) 

ataaeLV  devpo  (l) 

avaaTpk4>eLV  ttoKlv  (l)  .  . 

^alveiv  (15) 

0aLP€LV  .  .  .  : 

^aLV€LV  kv 

^aiV€LV  TreXas 

^alveiv  irXija-Lov 

^alveiv  irpos 

k/x^alvetp 

kin^alveLV 

Tpoa^alveLV 

kXdelp  (73) 

aveXdelv 

CLTreXdelv 

elaeXdelv 

kXdelv 

eXdelv  acrcrov 

eXdelv  devpo 

eXdelv  €iJLTo86)v 

eXdelv  evdabe 

eXdelv  eirl 

eXdelv  ttoXlv 

eXOelv  TOTL 

eXdelv  irpbs 

TrpoaeXdelv 

irpoaeXdelv  eirl 

eXKeiv  irpbs  (2) 

e^p/jLL^eLV  iroSa  xkXas  (l) 

eweiyeffdaL  (2) 

'(^TeadaL  irdpos  (l) 


SOPH. 


EUR. 


ARIST. 


MEN. 


3 
1 

1 
13 


2 

10 


USE   OF   STAGE-DOOR   IN  THE   PLAYS 


79 


AES. 


SOPH. 


EUR. 


ARIST. 


MEN. 


epireiv  (6) 
TrpoaepweLV 

i]K€LV  (56) 

k(f>7]KUV   .  .  . 

^K€LV 

^K€LV   €irl.  . 

riK€LV  irapa 

rfKiLV    TTpOS. 


eelv  (2) 

eadelv  wpos 

delv  CTTt.  .  . 


6p6i(TK€l,V  SofJLOVS    (l) 

IkvaL  (9) 

thai  devpo 

levat  wpos 

Uvac  cos 

irpoaikvaL 


iKCLVeiV   (3)    .  . 

LKeLV  ttotI  (l) 


Ukadai  (16) 

e^LKeadaL 

a<f)LKe(T6at,  .... 
a<f>LKe(T6aL  kiri  . 
d(f)LKe<7daL  irpos 

LKecrdaL 

iKkcrBaL  devpo  . 
LKeadaL  kirl  .  .  . 
LKecrdaL  wpos  .  . 


KOfxl^eLV  (4) 

Xidfeo-^at  TTpbs  (l) 


39 


80 


HOUSE-DOOR   ON  THE  ANCIENT  STAGE 


SOPH. 


EUR. 


ARIST.       MEN. 


fjLokelv  (11) 

/jLoXelv  8€vpo 

fioXelv  ttot'l 

jxoKeiv  wpos 

odoLTTopelp  (2) 

btiiKelv  (l) 

bpfxav  (3) 

op/jLCLP  devpo 

opfidv  irpos 

wapelvaL  (9) 

weXa^eLV  (3) 

Tre/jLTreLV  woda  irpos  (l) 

irepav  (3) 

irepav  irapos 

Trepdv  irpos 

7rXd^€ti/  (l) 

TTopevecrdaL  (4) 

TTopeveadaL  irpos  .  .  . 

irpoaKeladaL  (l) 

irpoaveneiv  (l) 

wpoaireTaadaL  (1)    .  .  . 

irpo(nr'nrTeiv  (l) 

7rpoarpex€tv  (5) 

TpOTpaireadai  (l) .  .  .  . 
awevdeiv  irpos  (2) .... 

(TTeixeLV  (31) 

JJL€Ta<TT€ix^V 

irpO(T(TTdx^v 


USE   OF  STAGE-DOOR   IN  THE   PLAYS 


81 


AES. 


SOPH. 


EUR. 


ARIST.  I    MEN. 


(TTeLX^LV 

(TTelx^LV  aaaov 
ardx^v  kiri  .  . 
drdx^i-v  Kara.  . 
(TTelx^i'V  irpos  . 


areWeLV  (2)  .  .  .  . 
(TTeWeLV  ttolXlv 

(f)epei,v  irpos  (l)  . 

<f)OLTdv  (l) 

Xpi'tJ^'JrT€LV  (l)  .  .  . 


Xcopetv  (12) 

irapax'^P^t'V 

Xoopelv 

X^pdv  kirl 

Xiopelv  irapa  ri\v  etaodov 

XC/ip^ly  TTpo 

Xoopelv  irpos 


16 

1 
1 
3 


82 


HOUSE-DOOR   ON  THE  ANCIENT  STAGE 


IV.  Words  and  expressions  used  at  the  departure  of  an  actor  from  the  scene  of 
action  hy  the  parodoi  in  the  Greek  dramas 


AES. 


SOPH,        EUR. 


ARIST. 


&y€Lv  (I9i) 

a7€t»'   (XTTO 

airaytiv 

vwayeiv 

aX(T(T€LV  (l) 

airalptiv  (2) 

d7raXXa(ro'€ti'  (5) 

OLTTOdpCLVaL    (l) 

airoKi^a^eiv  (l) 

(LTrokiTpayi^eLV  airo  (1) 

CLTroTraTelv  (1) 

diroTreraaOaL  (2) 

awoao^elv  (2) 

dTTOcnrdv  (l)    

diro(XTpk<i)av  (l) 

d(l>r]KeLV  (2) 

arf/oppos  (3)    

^alv€LV  (6) 

diro^alveiv 

^alvetv 

irpo^aiveLV 

SMKeLV  (2) 

dirodLoyKeLV  diro 

dL(j)K€LV  aTOTTpO 

elXlaaeLV  iroSa  dro  (l) 
ekavveLV  (2) 

eXOeiv  (34) 

direXdelv 


1  1 


TJSE   OF  STAGE-DOOR  IN  THE   PLAYS 


83 


AES.        SOPH.        EUR.     I  ARIST. 


MEN. 


kXdelv 

'4\KeLV  (2) 

a<f)e\K€LV 

kTn(rTp€<f)€LV  (l)  .  .  . 

epireiv  (7) 

a4>epTreLV 

ep-jreLV 

epTretv  airo  .... 
epireLV  evdevde  .  . 

eppeLV   (o) 

direppeLV 

eppeLV 

eppeLV  diro.'.  .  .  . 

ikvai  (89) 

CLTTLeVaL 

e^LevaL 

levaL 

ievaL  evdevde  .  .  . 
levai  Svpa^e  .  .  . 
TpoLevaL 

IevaL  (6) 

d(f>LevaL 

fxedLevaL 

laTCLvaL  (5) 

CLTOo-TrjvaL 

dToa-TTJvaL  x^P'S 
nedLdTavaL  .... 

kUlv  (l) 

KOjlL^eLV  (2) 


1 

1 

5 
23 


1 
1 

1 

24 

1 
1 
1 
1 


84 


HOUSE-DOOR  ON  THE  ANCIENT   STAGE 


AES. 

SOPH. 

EUR. 

ARIST. 

1 

2 

1 

1 

2 

2 

2 

2 

1 

1 

1 

1 

1 

3 

4 

3 

6 

20 

1 

2 

3 
2 

*    4 

1 

1 

1 

1 
1 

1 

5 

14 
1 

1 

MEN. 


XelireLV  (4) 

/jkoXelv  (3) 

otxco-^o-t  (6) 

opfxav  (3) 

a<f)opiJLdv 

oppvadai  (l) 

irknTreiv  (l) 

TTOpeveadaL  (7) 

(rretx^t?'  (29) 

(TTeWeLP  (1) 

aeveaSai  (2) 

TpeX^LV  CLTO  (3) 

viraTOKLvelv  (2) 

<f)epeLV  (7) 

aic6<f>tpuv 

aTro<t>€pet,v  olto 

<t)ep€LV 

<f>€p€LV  CLTTO 

XOJpelv  (23) 

avaxi^P^lv  «  rouTTto'^cj' 

dTTOxcopetJ^ 

XwpctJ' 

XCOpCtJ'  dTTO 


USE   OF   STAGE-DOOR   IN  THE   PLAYS' 


85 


V.  Words  and  expressions  used  at  the  entrance  of  an  actor  upon  the  scene  of 
action  through  the  door  in  the  back-scene  in  the  Roman  drama 


PLAUT. 


TER. 

SEN. 

2 

1 
1 

1 

1 

6 

1 
2 

• 

1 
1 

.     ' 

FRAGS. 


ablegare  foras  (1) 

adesse  (3) 

aedificare  ex  aedibus  (1) 

amovere  (1) 

arcessere  (hinc)  (4) 

arcessere  intus  (1) 


cedere  (7) 

abscedere  ab  aedibus 

accedere  hue 

con  cedere  ex  aedibus 

incedere 

procedere  foras 

procedere  hue 


dare  (2) 

dare  exinde  se 

dare  se  praecipitem . . 

deligere  ex  aedibus  (1)  . 
deponere  foris 

dueere  (45) 

abducere  (hinc,  hue) 
abducere  ex  aedibus . 

abducere  se  ab 

adducere  (hue) 

adducere  ex  aedibus. 

deducere 

dueere 

educere 

edueere  foras 

educere  se  foras 


86 


HOUSE-DOOR   ON  THE  ANCIENT  STAGE 


PLAUT. 


TER. 


SEN. 


FRAGS. 


producere  ante  aedes  foras 

producere  hue 

producere  intus 

seducere  ab  aedibus 

seducere  hue  foras 

sedueere  se  illim 

subducere  ab  aedibus 

subterducere  se  istinc  . . . . 

edere  (2) 

edere  foras 

edere  se  ex  aedibus  foras  . . 

esse  extra  limen  (1) 

gredi  (60) 

agere  progredi 

egredi  (hinc,  hue) 

egredi  a  se  foras 

egredi  abs  (ab,  a) 

egredi  abs  intus 

egredi  domo 

egredi  domo  foras 

egredi  ex  aedibus 

egredi  foras 

egredi  foras  e  fano 

egredi  inde  hue  foras 

egredi  intus 

progredi  

progredi  foras 

progredi  foras  intus 

eicere  (7) 

eieere  domo 

eicere  foras 

eicere  foras  aedibus 


1 
12 


1 
1 
1 

1 

11 

1 

2 
5 
3 
1 


11 
1 
2 


USE   OF  STAGE-DOOR  IN  THE   PLAYS 


87 


PLAUT. 


SEN.  FRAGS . 


elicere  hinc  foras  (1)  .  . .  . 
prolicere  hue  (1) 

eliminare  (2) 

eliminare  extra  aedibus 
eliminare  se 

evomere  (1) 

excire  (3) 

excire  ante  aedes 

excire  foras   

excitare  foras  (1) 

exambulare  hinc  foras  (1) 

exigere  (2) 

exigere  abs  se 

exigere  foras 

exportare  foras  (1) 

exsilire  foras  (2) , 

prosilire  (1)  

exsuscitare  hue  (1) 

extrare  limen  (1) 

exturbare  (4) 

exturbare  aedibus 

exturbare  ex  aedibus  . , 
exturbare  foras 

ferre  (41)  . 

adf  erre 

adferre  a  se 

ecferre  domo  a  se  .  .  .  . 
auf erre  a  se 


88 


HOUSE-DOOR   ON   THE   ANCIENT  STAGE 


PLAUT. 

TER. 

SEN. 

FRAGS. 

auferre  hinc 

1 

4 

1 

2 

4 
1 

' 

2 

1 
1 
1 

1 

1 
1 
1 

3 

3 

.  3 

I 

1 

1 

1 

1 
1 

1 

5 
1 

1 
1 

1 
1 

conferre  se  in  pedes 

def erre 

deferre  ad  se 

ecferre  (hue) 

ecferre  dome 

1 

ecferre  ex 

ecferre  extra  aedes 

ecferre  foras 

ecferre  gressum  thalamis 

ecferre  (hue)  intus 

ecferre  intus  foras 

ecferre  pedem  aedibus 

ecferre  pedem  domo 

1 

ecferre  tectis  gradus 

ferre  foras 

ferre  hue 

proferre  intus  foras 

referre  ab  aedibus 

transferre 

transferre  a  se 

fusrare  e  fano  (1) 

fugere  (4) 

ef  fugere 

eff ugere  foras 

fugere  ex  domo 

harpagare  intus  (1)  

ire  (181) 
abire  (hinc)  

abire  abs  se 

abire  domo 

abire  foras 

USE   OF   STAGE-DOOR   IN  THE   PLAYS 


89 


!  I 

I      PLAUT.     I         TER. 


SEN-. 


FRAGS. 


adire  hue 

agere  ire  foras 

exire  (hinc,  hue) 

exire  abs,  (ab,  a) 

exire  ab  foras 

exire  domo 

exire  ex 

exire  ex  aedibus 

exire  ex  eulina  foras 

exire  foras  (hue) 

exire  inde  hue 

exire  intus 

ire  (hine) 

ire  foras 

ire  foras  ante  ostium  et  ianuam 

ire  prae 

prodire  (hue)  

prodire  foras 

prodire  hue  ante  aedes 

prodire  in  publieum 

prodire  intus 

redire 

transire  (hue)  

transire  domum 


labi  foras  (1) 

linquere  aulam  (!) 


migrare  (6) 

emigrare  (hinc)  

emigrare  aedibus.  .  .  . 
emigrare  ex  aedibus  . 
migrare  e  fano  foras 

mittere  (9) 

amitterre 

emittere 


1 

1 

49 


3 
2 
2 

1 
18 
1 
5 
2 
12 
1 
1 
4 
1 
1 
1 
1 
3 
5 
1 


19 
3 
1 


90 


HOUSE-DOOR  ON  THE  ANCIENT  STAGE 


TER,        I        SEN. 


mittere  domo 

mittere  foras 

mittere  hue 

permittere  domum 

pellere  foras  (1) 

penetrare  se  foras  ex  aedibus  . 

proficisci  foras  (1) 

promere  (1)  

properare  ab  ea  (1) 

prospectare  (1) 

protrahere  (1) 

provisere  (3)  

quati  foras  (1) 

repere  (10) 

abripere  domi 

abripere  se  foras 

corripere  inde 

eripere  foris 

proripere  foras  se  ex  aedibus 

proripere  hue 

rapere  ex  aedibus 

rapere  foras 

rapere  tectis  pedem 

subripere  se 

recipere  (2) 

recipere  se  a  pabulo 

recipere  se  e  fano 

sequi  (4) 

prosequi  foras 

sequi  (hinc)  

subrepere  hue  se  (1) 


USE   OP   STAGE-DOOR   IN  THE   PLAYS 


91 


PLAUT. 


TER. 


SEN.        !      FRAGS. 

I 


tollere  (2) 
extollere  dome  pedem . . . 
tollere  extra  limen  pedes 


trudere  (16) 

extrudere 

extrudere  aedibus  . . . 

extrudere  domo 

extrudere  ex  aedibus 

extrudere  foras 

trudere  hinc  foras  . . . 


venire  (17) 
advenire 


convemre  .  . 
venire  (hue) 


vocare  (36) 

evocare  (hue) 

evocare  (hue)  ante  aedes 
evocare  ante  ostium .... 
evocare  foras  (hinc)  .... 

evocare  intus 

evocare  intus  foras 

provocare 

se vocare  e  senatu 

vocare  inde 


vorti  (3) 

devorti  a  se  . . 
evorti  aedibus 
revorti 


11 
2 
1 
9 
2 
2 
2 
1 
1 


92 


HOUSE-DOOR   ON   THE  ANCIENT  STAGE 


VI.  Words  and  expressions  used  at  the  departure  of  an  actor  from  the  scene  of 
action  through  the  door  in  the  hack-scene  in  the  Roman  drama 


PLAUT. 


TER. 


SEN. 


FRAGS. 


adspicere  intro  (1)  .  .  . . 
inspicere  intro  (1)   . . . . 

agere  (9) 

agere 

agere  se  hinc  ....... 

agere  se  hinc  domum 
agere  se  in  aedem  .  . . 

allicere  ad  se  (1) 

inlicere  ad  se  (1) 

inlicere  intro  (1)    

ambulare  (3) 

ambuiare 

ambulare  intro   

amoliri  (3) 

amoliri 

amoliri  hinc  intro  . . 

amovere  se  hinc  (2) . . . . 

arcessere  (6) 

arcessere  

arcessere  ad  se 

arcessere  in  

capere  (19) 

accipere  ad  se 

accipere  apud  se. . . . 

accipere  intro 

capessere  domum . . . . 


USE   OF   STAGE-DOOR   IN   THE   PLAYS 


93 


PLAUT. 


TER. 


SEN.  FRAGS. 


receptare  ad  se 

recipere  ad  se 

recipere  domum  se 

recipere  se  ad    

recipere  se  ad  domum . . . . 

recipere  se  in  aedes 

recipere  se  in  tectum 

recipere  se  intro 

recipere  tecto 

cedere  (12) 

abscedere  (hinc) 

abscedere  hinc  intro 

accedere 

accedere  intro  ad 

concedere  hinc  domum  . . 
concedere  (hinc)  intro  .  . . 

decedere 

incedere  domum 

cogere  intro  (1) 

conicere  se  intro  (1)    

conlabi  in  (1) 

correpere  in  (1)  

currere  (11) 

currere 

accurrere  hue  ad 

currere  ad 

currere  intro 

cursare  ad 

transcurrere 

transcurrere  ad  se 

transcurrere  ad  se  domum 

dare  se  in  domum  (1) 

detrudere  hue  ad  (1) 


94 


HOUSE-DOOR  ON  THE  ANCIENT  STAGE 


TEE. 


SEN. 


ducere  (89) 

abducere  (hinc) 

abducere  ad  se 

abducere  ad  se  domum   

abducere  domum 

abducere  intro    

adducere 

adducere  ad  se. 

adducere  in  aedes^ 

adducere  intro  in  aedes    

deducere  ad 

deducere  domum 

deducere  in  aedes  ad  se  domum 
deducere  in  cubiculum  domum . 

deducere  in  domum 

deducere  intro 

ducere    

ducere  ad 

ducere  domum 

ducere  in  aedem 

ducere  intro 

ducere  intro  ad  domum 

introducere 

reducere 

reducere  ad 

reducere  domum 

transducere 

transducere  ad 

ferre  (37) 

adferre 

adferre  domum 

adferre  se  intro  ad 

auferre 

auferre  domum  ad  se 

conferre  ad 


2 

1 

3 
10 
1 
1 
2 
1 


USE   OF  STAGE-DOOR   IN  THE   PLAYS 


95 


PLAUT. 


TER. 


SEN. 


FRAGS. 


deferre  

deferre  ad  se 

deferre  in  aedes 

ferre  

ferre  gressus  in  penates  . . . 

ferre  intra  limen 

ferre  intro 

ferre  pedem  in  aedes  intro 

ferre  pedem  intro 

inferre  gressum  thalamis.  . 

inferre  pedem 

inferre  pedem  in  aedes  .  .  . 

referre  ad 

referre  domum 

referre  gradum  in  penates  . 

referre  intro  pedem 

transferre  hue 

transf erre  hue  ad  se 


festinare  apud  se  (1) 


fugere  (11) 

confugere  (hine) 

confugere  ad  se  domum 

fugere  

fugere  domum 

f uKere  intro 


immergere  (2) 

immergere  se  in  eontionem 
immergere  se  in  ganeum   . 


imbitere  domum  (1) 
ingredi  (1) 


inruere  se  in  aedes  (2) 


96 


HOUSE-DOOR   ON  THE  ANCIENT  STAGE 


PLAUT. 


TER. 


SEN. 


intrare  (3) 

intrare  intra  limen 

intrare  limen 

ire  (495) 

abire  hinc 

abire  (hinc)  ad  se  ..... 

abire  (hinc)  domum 

abire  (hinc)  intro 

abire  intro  ad  se 

abire  intro  ad  se  domum 

abire  visere 

adire  se 

introire 

introire  domum 

ire  (hac,  hinc) 

ire  ad 

ire  ad  se  domum 

ire  domi 

ire  (hinc)  domum 

ire  in  aedem 

ire  (hac)  intro  (intus) .  . 

ire  intro  ad  se 

ire  intro  domum 

ire  intro  domum  ad  se  . 
ire  intro  in  aedes.  ..*.... 
ire  intro  in  domum  .... 

redire 

redire  ad 

redire  ad  se  domum . . . 

redire  domum 

redire  intro 

transire  (hue) 

transire  ad 

transire  ad  se 

transire  ad  se  in  domum 
transire  domum 


77 
3 
7 

56 
2 
1 

1 
3 
1 

83 

10 
1 
1 

16 
1 

90 
4 
1 
1 
2 
1 
1 


17 

3 
9 

1 
1 


20 

7 


2 
33 


USE    OF   STAGE-DOOR   IN   THE    PLAYS 


97 


PLAUT. 


TER.  SEN. 


migrare  (2) 

immigrare 

remigrare  domum 

mittere  (33) 

admittere 

admittere  ad  se 

admittere  intro 

amittere  intro 

immittere 

intromittere 

intromittere  domum 

intro  mittere  in  aedibus 

mittere 

mittere  ad 

mittere  in  aedes 

mittere  intro 

mittere  intro  domum 

mittere  intro  in  aedes 

mittere  intro  in  aedibus 

penetrare  (5) 
penetrare  intra  aedes  pedem  . 
penetrare  pedem  intra  portam 

penetrare  se 

penetrare  se  in  palaestram .  . .  . 
penetrare  tecta  gradu 

pergere  (5) 

pergere  ad 

pergere  in  aedibus 

pergere  ire  domum 

portare  ad  (I) 


98 


HOUSE-DOOR^  ON   THE   ANCIENT   STAGE 


PLAUT. 


SEN.        1      FRAGS. 


properare  (9) 

adproperare 

properare 

properare  ad 

properare  domum  . 
properare  ire  intro, 

rapere  (12) 

abripere  intro  .... 

corripere  ad 

corripere  intro  .... 

corripere  se 

corripere  se  in.  . .  . 

rapere  intro 

rapere  se 

rapere  se  domum .  . 
subripere  se 


remeare  intro  (1)  . . 
revehere  domum  (2) 
revidere  ad  (1) 


rumpere  (4) 

rumpere  intro 

rumpere  intro  in  aedes  . . 
rumpere  intro  in  aedibus 
rumpere  intro  in  fanum. 


sequi  (84) 

consequi 

persequi 

persequi  intro 

sequi  (hac) 

sequi  (hac)  intro  (intus) 
subsequi  intro 


tollere  hinc  (1) 


1 

1 

45 

16 

1 


USE    OF   STAGE-DOOR   IN   THE    PLAYS 


99 


PLAUT. 


TER. 


SEN. 


venire  (47) 

advenire 

advenire  ad  aedes.  .  . . 

advenire  ad  se 

advenire  ad  se  domum 

advenire  domi 

advenire  domum 

advenire  in  domum  .  . 

advenire  intro 

con  venire 

con  venire  se  domi.  .  .  . 
convenire  se  domum  . 
de venire  domum  ad  .  . 

venire 

venire  ad 

venire  ad  se 

venire  ad  se  domum  . 

venire  domum 

venire  in  aedem 

venire  intro 

venire  intro  ad  se .  . , . 
revenire  domum 


visere  (23) 

invisere  ad 

invisere  domum 

invisere  intro  ad  se  domum 

visere 

visere  ad 

visere  ad  se  intro 

visere  intro 

visere  domum 

intervisere 

intervisere  domum 


revocare  (2) 

revocare  intro  . . 


100 


HOUSE-DOOR   ON   THE  ANCIENT   STAGE 


PLAUT. 

TBR. 

SEN. 

FRAGS. 

vorti  (10) 

devorti 

devorti  ad  me 

devorti  domum 

1 

I 

1 
1 

1        ' 

1 

2 

1 

■ 

devorti  intro  domum  .  . 

revorti 

revorti  domum 

revorti  intro 

USE   OF   STAGE-DOOR  IN  THE   PTAYS 


101 


VII.  Words  and  expressions  used  at  the  entrance  of  an  actor  upon  the  scene  of 
action  by  the  side-entrances  in  the  Roman  drama^^ 


adportare  (4) 2 

adportare  domum \       1 


adportare  hue  adventum 
advehere  hue  (2)   


agere  (2) 
agere  hue  _  .  . . 
adigere  horsum 


apparere  domi  (1) 

areessere  (hue)  (11) 

contendere  eursum  hue  (1). 


cedere  (28) 

aeeedere 

incedere  (hue)  .... 
ineedere  advorsum 
ineedere  domum  .  . 
proeedere  hue  .... 


eurrere  (15) 

currere  (hue)  . . . 
eurrere  domum  . 
eurrere  hue  in.  . 

oeeurrere 

praecurrere  hue 
reeurrere  hue .  .  . 
reeursare 


dueere  (53) 

adducere  (hue) 

adducere  ad 

conducere  hue  domum 


.2 


10 


23 
1 

1 
1 

5 
1 
I 
1 
3 
1 
1 


31 
1 
1 


dedueere . . . . 
dueere  (hue) 
dueere  ad . . . 
redueere  . . . . 


esse  (58) 

adesse  (hie,  eeeum) 

adesse  ante  aedes  hie  . . 
adesse    eeeum    ipsum 

obviam 

adesse   hine    ab    laeva 

aut  dextra , 

esse  (hie,  iam) 


ferre  (41) 

adferre  (hue) 

adferre  ad 

deferre  (hue) 

ferre  ad 

ferre  hue  pedem. .  . . 

ofifere  se 

referre  (hue) 

referre  ad  se  pedem 
proferre  ad 


ingredi  in  plateam  (1) 

ire  (103) 

adire  (hue) 

ire  (hue,  eeeum) . .  . 


praeterire.  . . . 
prodire  hue  . . 
redire  (hue) .  . 
redire  domum 


25 
1 


1 
10 

22 
1 
4 
1 


3 
10 

1 

1 

54 

10 


20 


19 

1 


®*  Seneca  and  the  fragments  hax©  none. 


102 


HOUSE-DOOR  ON  THE  ANCIENT  STAGE 


mittere  (13) 

mittere  (hue) 

praemittere 

praemittere  domum .  . . 
remitterre 

ostendere  inde  se  (1) .  .  .  . 

pergere  (2) 

pergere    attat   eccum 

horsum 

pergere  hue 

properare  (4) 

properare  domum 

properare  venire 

rebitere  hue  (3) 

redibitere  (1) 

recipere  (16) 

recipere  (hue) 

reeipere  se  domum  .... 

reeipere  se  hue 

reeipere  se  hue  rursum . 

redambulare  (1) 

remeare  (1) 

renuntiare  (2) 

renuntiare  domum .... 

renuntiare  hue 

sequi  (9) 


eonsequi 

sequi  (hae) !      6 

subsequi ..i       1 

venire  (305)  ! 

advefnire  (hue) |  108 

1 
1 
2 
5 


advenire  ad 

advenire  ad  domum .  . 

advenire  domi 

advenire  domum 

intervenire 

provenire 

revenire  (hue) 

subvenire 

venire  (hue,  hae) 

venire  ad 

venire  advorsum 

venire  hine  ab  dextra . 

venire  obviam 

visere  (7) 

intervisere 

provisere 

revisere 

visere 


vocare  (hue)  (2) 


1 
7 
1 
117 
6 


vorti  (15) 

antevorti 

eonvorti  se  domum |       1 

revorti  (hue) |       6 

revorti  ad 2 


USE  OF  STAGE-DOOK  IN  THE  PLAYS 


103 


VIII.  Words  and  expressions  used  at  the  departure  of  an  actor  from  the  scene 
of  action  by  the  side-entrances  in  the  Roman  drama^ 


ablegare  hinc  (1) 
absterrere  (1)  .  .  . 


agere  (5) 

abigere 

abigere  ab  aedibus 
agere  se  


ambulare  (13) ...  . 
amoliri  se  hinc  (2) 


amovere  (5) 

amovere  (hinc)  .  . . 
amovere  a  foribus 


arcessere  (1)  

asportare  hinc  (1). 
avehere  (hinc)  (6) 


bitere  (4) 
bitere  . 
abitere 


cedere  (14) 
abscedere  (hinc) 

procedere 

recedere 


conicere  se  hinc  in  pedes 

(1) 

reicere  foribus  (1)  


currere  (14) 
currere .... 
percurrere  . 
praecurrere 


1 
3 

13 
2 

2 
2 


1 
4 

2 
2 

12 
1 
1 


4 

ll 


recurrere  .  .  . 
transcurrere 


ducere  (40) 

abducere  (hinc)  26 

deducere 1 

ducere  (hinc)  I  4 

ducere  ab  aedibus. .....  1 

educere i  1 

reducere |  2 

subducere  hinc 1 


(2) 

abesse  ab  domo 
adesse  hie  non 


detrudere  (1)  . .  . . 
extrudere  hinc  (2) 

facessere  hinc  (1) . 


ferre  (20) 
auferre  hinc 
deferre  .... 
differre  .... 
ferre  


fugere  (24) 

aufugere  (hinc) .  . . 

effugere 

fugere  (hinc) 

fugere  ab  aedibus. 
fugere  ab  domo . . . 
fugere  domo 


11 
1 
1 
5 

3 

1 

14 

1 


^^  Seneca  and  the  fragments  have  none. 


104 


HOUSE-DOOR   ON  THE  ANCIENT  STAGE 


grassari  (1) 

instare  hac  an  iliac  iter  (1) 


ire  (423) 

abire  (hinc,  hac) 190 

.   abire  ab 2 

abire  ab  aedibus 3 

abire  ab  domo 1 

abire  domo 

abire  deambulare  .... 

abire  prae 1 

exire  hinc i 

ire  (hinc,  hac) |  150 

2 
1 
1 
1 
3 


ire  prae 

praeterire  hac 

prodire 

redire 

transire 


migrare  hinc  (1) 


mittere  (35) 
amittere  (hinc) 

dimittere 

mittere  (hinc)  . 
remittere 


pellere  (3) 

aspellere 

*  pellere  a  f  oribus 
repellere  foribus 


pergere  (12)     

petere  (3)  

proficisci  (hinc)  (5) 

prohibere  (2) 
prohibere  domo 
prohibere  hinc  .  . 


8 

23 
1 


1 
1 
1 

10 
2 
3 


35 

1 


1 
1 
1 
1 

28 


proper  are  (10) 

quaerere  (2)  . 
requaerere  . 


rapere  (12) 
abripere  (hinc) 

deripere 

eripere 

rapere  (hinc) .  . 


recipere  se  (1) 
relinquere  (2) 
renuntiare  (1) 
revorti  (1)  ... 


sequi  (40) 
adsequi   .  . .  . 
persequi  hac 
sequi  (hac)  . 
subsequi   .  . . 


trahere  (3) 

abstrahere  hinc 
trahere  hinc  .  . 


venire  (11) 
advenire 
convenire 
devenire . 
venire  . . . 


visere  (5) 
invisere 
visere  . . 


36 


INDEX  OF  PRINCIPAL  PASSAGES  DISCUSSED 


Aeschylus:  Cho.  652,  p.  19;  Eum.  179, 
p.  60;  Prom.  l,p.60;  1058 ff.,  p.  61;  Sep. 
239  ff.,  p.  60. 

Aristophanes:  Ach.  725,  p.  62;  824,  p.  62; 
839,  p.  62;  876  f.,  p.  62;  Av.  53  ff.,  pp.  32 
and  37;  991,  p.  62;  1168  f.,  p.  Q2;Eq.  146 f. 
p.  61;  1407,  p.  62; Li/s.  1065  ff.,  p.  19;  Nub 
132,  p.  27;  1510,  p.  62;  Pac.  1050,  p.  62 
Plut.  872  f.,  p.  62;  1097,  pp.  27  and  30 
Ran.  603  f.,  p.  33;  Thesm.  487,  p.  31 
Vesp.  138  ff.,  pp.  33,  37,  and  46;  891,  p. 
62;  1498  ff.,  p.  62;  1535  f.,  p.  62. 

Aristotle:  De  An.  2.8.11,  2.8.15,  p.  29;  Hist. 
An.  4.9.5, 4.9.8,  p.  29;  De  Aud.  802b-41,  p. 
30;  Oecon.  2.1347a-14,  p.  43;  Resp.  Ath. 
50.2,  p.  43. 

Asconius;  In  Pis.  12,  p.  44. 

Cicero,  A' .  D.  2.27.67,  p.  15. 
Corpus  Ins.  Graec.  III.  5194b,  pp.  32  f. 
and  38. 

Dionysius  of  Halicarnassus,  Antiq.  Rom. 

5.39,  p.  44. 
Donatus  ad  Ter.:  Ad.  264,  p.  35;  788,  p. 

27  f. 

Euripides:  Ale.  609  f.,  p.  61;  Bac.  1148  f., 
p.  61;  1165  ff.,  p.  60;  Cyc.  85  ff.,  p.  60;  99, 
p.  61;  Hec.  52  f.,  p.  Ql;  Hel.  858  f.,  p.  34; 
Heraelid.  257,  p.  61;  i/erc.  Fur.  77  f.,  pp. 
32  and  37;  Hippol.  53,  p.  61;  659  f.,  p.  60; 
Ion.  515  f.,  p.  34;  Iph.  Taur.  1037  f.,  pp. 
32  and  37;  Orest.  1311  ff.,  p.  61 ;  1366  f .,  p, 
34;  1561  f.,  pp.  45  f.;  Phoen.  615,  p.  61; 
759  f.,  p.  61;  Rhe.  595  f.,  p.  61;  Troad. 
1047  f.,  p.  61. 

Gracchus,  Peliades,  pp.  40  and  47. 

Heliodorus:  1.17,  pp.  32  and  38;  3.16,  pp. 
32  and  38. 


Helladius,  apud  Phot.  Bibl.  Cod.  279,  pp. 
26  f. 

Lucian,  Pseudosophistes  9,  p.  28  f . 
Lysias:  1-14,  pp.  33  and  37;  1.17,  pp.  33  and 
37. 

Magister,  s.  v.  kotttoj,  p.  28. 

Menander:  Epitr.  454,  p.  34;  485,  pp.  38 
and  47;  Per.  126  and  426,  p.  34;  Sam.  85, 
151,  and  210,  pp.  38  and  47;  222  and  324, 
p.  34;  Korte,  2d  ed.  fab.  inc.  p.  211,  11. 
34  f.,  p.  61. 

Moeris,  s,  v.  kotttw,  p.  28. 

Plato,  Prot.  314  D,  p.  43. 

Plautus:  Amph.  1018,  p.  12;  Aul.  666,  p.  14; 

Bacch.  833,  p.  33;  Capt.  831,  p.  17;  Cure. 

158  ff.,  p.  31;  Men.  351,  p.  13;  Merc.  477, 

p.  14;  Mil.  328,  p.  37;  Most.  444,  p.  12; 

453,  p.  17;  505  ff.,  pp.  37,  40  f.,  and  47; 

Rud.  1202,  p.  14;  Stick.  87,  p.  13;  308,  p. 

12. 

Pliny,  N.  H.  36.112,  p.  44. 

Plutarch:  Aratus.  17,  p.  21;  Cimon  17,  p. 

19;  Dion  57,  p.  44;  Pelop.    11.4,  p.  43; 

Poblic.  20,  pp.  25  f.,  42  f.,  and 44;  Mora- 

lia  597  D,  pp.  43  f . 

Seneca:  Here.  Oet.  254,  p.  35;  Med.  177  f., 
pp.  39  f .  and  47;  Oed.  911  and  995,  p.  35. 

Sophocles:  Antig.  1186  f.,  pp.  45  and  47; 
1321,  p.  61;  1339,  p.  61;  Elec.  1322,  p.  34; 
Oed.  Col.  36  f .,  p.  61 ;  45,  p.  61 ;  47  f .,  p.  61 ; 
176  f .,  p.  61 ;  233,  p.  61 ;  263  f .,  p.  61 ;  728  ff ., 
p.  61;  824,  p.  61;  826,  p.  61;  866  f.,  p.  61; 
Oed.  Rex  676,  p.  61. 

Suidas,  s.  v.  kotttoj,  p.  27. 

Tacitus,  Ann.  11.37,  pp.  39  and  40. 
Terence,  Ad.  788,  pp.  27,  39,  and  47. 

Xenophon,  Hel.  6.4.36,  p.  44. 


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